Limiter VST Plugins

Elevate Bundle

Mastering with a Brain

Elevate is the most advanced mastering plug-in ever created. This unique multi-band limiter, human-ear EQ and powerful audio maximizer will increase the loudness of your mix while maintaining or improving its dynamic perception. It uses intelligent, adaptive technology that responds in real time to your music; creating not only the loudest, but the best sounding master.

Developed by Newfangled Audio, Elevate maintains subtle dynamics and improves the tonal balance of your mix. The adaptive limiter analyzes 26 frequency bands and alters the gain, speed and transients for each band in real time. The result is a transparent, natural sound, no matter how hard you push it.

Elevate utilizes 26 critical filter bands modeled from the human ear. Each of the bands are spaced to give maximum control over how the sound hits your eardrum. Draw curves, solo bands and manipulate the transient attack for each individual band to bring out particular instruments such as kick or snare drums.

Adaptive Technology

Elevate uses artificial intelligence algorithms to make it easy for you to get the best sounds, but you can still get under the hood for as much precise control as you desire. This includes giving you control over the tonal balance and transients inside the final limiting stage. The adaptive algorithms reduce audible artefacts and the additional controls give you maximum flexibility with professional results.

Features

• Analyzes and alters the gain, speed and transients of each filter band in real time.
• Includes presets by: APS Mastering, Matt Lange, Jeremy Lubsey, Eric Beam, ROCAsound, Chris Tabron and John McCaig.
• Automatically adapts the attack, release and look-ahead parameters for each filter band to greatly reduce “pumping” and breathing artifacts and perceived distortion.
• Preserves or emphasizes fast transients to avoid squashing your mix.
• Manipulates transients across the critical bands to preserve the attacks from kick drums, snares and cymbals, without affecting the entire mix.
• Uses linear phase auditory filters — based on the Mel Scale — to manipulate the audio in a way that is natural to your inner ear.
• Solo the output of one band (or a number of bands) to hone in on problem frequencies, tweak transients or alter gain.
• Use the Auto Output Level feature to compare the limited signal to non-limited signals with the same amount of gain allowing you to easily hear what impact the processing is having on your sound.
• Use the Spectral Clipper to overdrive the final output without affecting the tonal balance or allowing the signal to get “tubby.” Perfect for a more aggressive sound.
• Six different types of metering allow you to keep an eye on every aspect of your output audio.

EQuivocate

Powerful & Precise Human Ear EQ

Graphic EQ that uses filters which are modeled on the human ear.  Perfect for mixing and mastering, EQuivocate’s auditory filters and match EQ functionality make it incredibly powerful, simple to use, and natural sounding. Each of the 26 critical bands tickles a different part of your inner ear, making any combination of settings sound as natural as possible. Combining this with a linear-phase filter shape that reduces pre-echo makes EQuivocate an EQ with a difference you can hear. Includes a parametric EQ, compressor, gate, soft saturation, transformer emulation, micro pitch shift, and stereo delays.

Saturate

Saturate is the Spectral Clipper algorithm made popular in the Elevate Mastering Limiter. Saturate’s two controls belie a sophisticated signal processing engine which allows it to overdrive a signal without effecting the tonal balance no matter how hard you push it. Add up to 12 dB of clipping with a variable shape parameter which moves from a pleasant soft curve to full hard clipping. Additionally, the SHAPE control allows you to smoothly morph between hard clipping and the mathematically smoothest curve possible. Use Saturate to overdrive individual tracks or your entire mix.

Learn more about Saturate.

Punctuate

Based on the Transient Emphasis section of the award winning Elevate Mastering Limiter, Punctuate is a multi-band transient modulator based on the critical bands in the human ear. Punctuate’s intelligent algorithms allow you to control the transient emphasis or suppression of all 26 critical bands with just 4 controls. This makes for an incredibly powerful, but very easy to use transient modulator.

Learn more about Punctuate.

PSP Xenon is a full band, dual-stage limiter plug-in featuring an integrated leveler, advanced K-System metering, and psychoacoustically optimized word-length reduction.

PSP Xenon offers pristine 64-bit precision processing throughout its entire signal path, and can operate at sample rates up to 192kHz.

Once you experience for yourself the pristine, transparent response and intuitive design of this plug-in, we believe it will become your “go to” limiter for mastering and other critical audio applications.

Lift Your Voice

For a vocal to really cut through the mix and ride other instruments, it’s usually a good idea to make sure it’s loud and proud. However, the dynamics of a vocalist’s performance can vary wildly, from softly sung verses to strident choruses. Despite a comprehensive vocal effects chain, with careful volume-riding and compression, you’ll often need a final limiter to clamp down on fluctuating dynamics or to smooth slower phrases.

W.A Production designed Vocal Limiter to be the last step in your vocal processing chain and as simple to use as possible.

It’s specifically developed to target the frequencies of vocal performances so is less affected by overly high or low-frequency content. With multiple speed modes and real-time VU meters, you can use your eyes and ears to find the perfect settings… or just flick through the included presets. With Vocal Limiter you can be sure that your vocals will sit comfortably in the mix and be heard loud and clear.

Threshold

You’ll probably already be familiar with the normal functions of a limiter; set the threshold to clamp down on levels above a certain amplitude. How quickly a signal recovers after this is dictated by the Speed button.

4 Release Speed Modes

Use the central button at the bottom of the interface to toggle the auto-release of the limiter to 4-speed settings. Depending on the performance of your vocalist, each of these settings will give a different effect. Use a slow speed for smoother performances such as ballads and acoustic songs, and fast speed for quicker changes, perfect for vocal chops and raps. Medium speed is suitable for most other kinds of vocal but feel free to experiment and discover the best settings for your particular style. Ultra Slow speed has also been included as a bonus; useful for synth parts and other types of audio that require a more gentle, transparent release setting.

Input & Output

Adjust the Input and Output faders to balance vocals recorded at different volumes and dynamics. These parameters are also useful when used in conjunction with the click and pop-free bypass button, for accurate A/Bing in context.

Visual Feedback

The live VU meters of the interface show exactly what’s happening to your audio signal in real-time. This allows for accurate monitoring at every step of the chain.

Presets

It’s easy to adjust the parameters of Vocal Limiter and since this is such a simple plugin, finding the right settings is so fast. Nevertheless, W.A Production have bundled some of the most useful combinations of settings as factory presets, easily accessible via either the browser or the arrows to the left and right of the interface preset section. Just click these for quick access to curated presets.

Features:

• Super simple vocal limiting
• 4 speed modes
• Input & Output gain sliders
• Real-time VU metering
• Pop & click free bypass
• Responsive & CPU friendly
• Factory presets
• Full PDF Manual & Tutorial video
• Resizable user interface

Gritty. Punchy. Smooth. Warm. All that. And more!

The Pawn Shop Comp 2.0 is a professional tool that will make a huge difference in the quality and impact of your mixes. It sounds great on any sound source and in virtually any application.

More than a compressor, the Pawn Shop Comp also has a fully adjustable tube preamp, a two band equalizer, and swappable components that give you unprecedented control of every parameter of the plugin.

MAIN FEATURES

• Get punch and snap out of individual drums or the entire drum bus. Built in low frequency eq centered at 63Hz, perfect for enhancing the chance of a kick drum. And you can dial in a bit of saturation to mimic the sound of classic FET limiters like the 1176.

• Built for bass sounds. Dial in attack to punch the bass through the mix. Set release to control the sustain and resonance. Some low end equalization to enhance the bottom end, and add some tube style saturation for additional growl.

• Killer on electric guitars. Precise control over note articulation and sustain. Adjust the midrange equalization for presence in the mix. Swap in ECC-83 tubes and get vintage amp overdrive and distortion… from a compressor!

• The PSC is a vocal channel strip, with almost everything you need to get kick-ass vocals. Get smooth tube opto compression, or crush it for color and character. Swap out transformers for tighter or darker response. Add warmth with the preamp, or saturation and drive.

• Add color, character and crunch lead lines, and warmth and harmonic structure to pads. The wide adjustability of the PSC makes it a natural for use with analog or sampled pianos.

• Bus compression with the Pawn Shop Comp… yes, it can do this, too. Give your mix or instrument cluster definition and “glue.” Control the amount of effect with the Wet/Dry control for easy parallel processing. Punch up the top and bottom with the PSC’s inductor based eq.

• Too often, the accordion is overlooked in modern recording… kinda like the cowbell. The Pawn Shop Comp’s preset library is full of places to start when you don’t quite know what you’re dealing with, but know it needs something.

The Compressor: A Modern Classic

A unique hybrid tube/FET circuit lets the Pawn Shop Comp handle virtually any compression task you throw at it. Complete controls for all compressor parameters let you tailor response from smooth to punchy to total crush.

A Tube Preamp
Use the Pawn Shop Comp’s tube preamp to add saturation and the warm harmonic distortion that is the mojo of tubes. But push GAIN even further to add overdrive and distortion, and adjust the BIAS for total shred. The PSC preamp can add character to vocals, hype to guitars and bass, and incredible color to room mics and the drum bus.

Swap Tubes and Transformers
Swap between three different sets of tubes and three different transformers to adjust the response of the Pawn Shop Comp from timid to street thug. Combined with the preamp Gain and Bias, tubes and transformers let the PSC sound like a classic tube limiter from the early 60’s, to modern, high end bespoke compressors, and all shades in-between.

Essential Sonic Sweetening
The EQ can be used to compensate for the loss of lows and presence that happens at high compression settings, and also for more creativity and enhancement. The WEIGHT control can be set for extreme lows (think kick drums) or slightly higher to give a signal warmth. The FOCUS control is centered in the midrange and adjustments in this band can add presence and width to a track. With +/- 8dB of gain, and wide, gentle peaking curves, use the eq to beautifully sculpt a track or an entire mix.

Tweakable like no other
Want to change the compression curves of the PSC? Swap in different FET’s. Want to get a vintage sound? Swap in Carbon resistors.Need something bright and modern? Switth over to Metal film resistors.

Looking to experiment? Crank up the OPERATING LEVEL control and emulate what happens when you blow up gear in the studio – but without the smoke, fire, repair bills or chance of electrocution. And if you go too far, you can back it all down using the WET/DRY control, or the INPUT and OUTPUT trims.

Set the OVERSAMPLING rate to better manage your CPU usage.

Browse the PRESET LIBRARY. Adjust the size of the GUI to fit your monitors and studio set-up. This ain’t no one knob plugin.

Punchy. Loud. Beautifully Destructive. Fun!

The Talkback Limiter is an aggressive, in your face limiter. Carefully modeled from the real thing, our Talkback Limiter has the character and anti-social tendencies that made it so popular for drums. We’ve added additional controls to make it much more versatile.

Secret Weapon of Top Producers
First utilized in a vintage British recording console, the Talkback Limiter was THE sound of drums throughout the 80’s, and is still a major component on records today.

Originally designed to protect control room speakers and personnel from loud noises over the studio communications system, this down and dirty, heavy-handed limiter is perfect for adding huge amounts of punch to any signal with a transient.

Flexible and Tweakable

Our Talkback Limiter has expanded functionality to make it more versatile than the original, and useful on more than just drums. It adds pop and tickle to bass tracks, brings out attack and details on guitars, and adds a gutsy quality to vocal tracks.

The Korneff Audio Talkback Limiter has addition “Other Side” controls to let you further tweak the plugin. The bottom line is you have a lot more control of this plugin than engineers had over the original console based unit.

100:1 ratio – talk about a brick wall
Turn LISTEN 1 to lower the threshold and kick in an FET style compression circuit at a 100:1 ratio. Attack is very fast, but just slow enough to make this the punchiest compressor you’ll ever use. It adds bite to ANYTHING. Makes grandma’s church choir sound like a Vinnie Paul drum solo.

30dB of gain! Yikes!
Switch the input level from LINE to MIC to add 30dB of gain, and loads of harmonically rich saturation and distortion to even the quietest signal. Seriously, this thing will make the sneeze of a bug sound like the scream of a metal core singer. Click on ANALOG to accentuate the non-linearities in the frequency response of the analog unit we modeled for the plugin.

Control the Mayhem
Our Talkback Limiter can be used for more than just drums. The WET/DRY control lets you back the compressed signal way down, so you can precisely adjust how much punch and character you hear in the final mix. You’ll end up using the Talkback Limiter to to add a subtle punch and presence to all sorts of instruments in many different applications. And, of course, you’ll use it to crush the hell out of things.

Tweakable
Our Talkback Limiter has addition “Other Side” controls to let you further tweak the distortion characteristics and compression curves. There’s also an adjustable Low Pass filter that can smooth out the top end, or completely mangle it for a low fi effect. And adjustable oversampling lets you manage your CPU usage in a plugin heavy recording/mixing situation.

The essential clipper

Little Clipper includes all the features you need from a clipper and lays it out in a way that makes it simple to dial in.

What’s new in Little Clipper 2?

• Resizable Interface
• Native Apple Silicon
• Asymmetrical distortion
• Oversampling

Why make a clipper when there are already so many?

Little Clipper is the lighter, smaller version of its big brother (Big Clipper). Clipping is one of the more misunderstood processes in mixing. When used correctly, it can make mixing easier. Things just fall into place better and dynamics stay under control. As it is with all effects, however, it’s easy to overdo. Little Clipper makes it easy to dial in with clear meters that show you how much clipping is occurring, and all the essential features that let you dial in your clipping to be just the right amount.

Hard/Soft Clipping: Sometimes you need crisp hard clipping, sometimes you need smoother soft clipping. Little Clipper lets you choose easily how hard you want your clipping to be.

Stereo or Mid/Side: Little Clipper lets you choose your channel configuration for stereo tracks. We have found that clipping often sounds much more natural in Mid/Side mode on stereo buses. It even lets you clip only the mid or side channels without affecting the other, giving you even more control over your clipping.

I thought clipping was bad. Why would I do it on purpose? Just like all effects, clipping is bad when you do it accidentally. When used purposefully, it’s a powerful tool that can be used to increase your apparent dynamics without making your peaks jump all over the place. It’s especially powerful on drums. Just a little bit of clipping your snare before your compressor will give your compressor much more natural sounding, predictable results.

Features:

• Hard/Soft Clipping
• Intuitive Input Gain and Ceiling controls
• Mix knob for blending your dry sound back in
• Multiple stereo configurations for clipping stereo buses

Why does the world need another limiter?

The Wall is is a brick wall limiter designed with one thing in mind: Make your mixes loud without screwing up your mix. No matter what side of the loudness wars you’ve decided to plant yourself on, the need to make mixes loud for clients isn’t going away any time soon. Sending your clients home with a mix that is just as loud as the professional mixes they are used to hearing is an important part of any mixing engineer’s job.

But nothing drives me more insane than listening to all my hard work turn to garbage when pushing the mix loud. That’s why we made this plugin. We wanted a mastering limiter that lets you push your mixes loud and still keep the punch in your drums and keep your tonality intact.

There are many Limiters out there, and one of the things that we learned while making this is that a good limiting algorithm is complicated. There are tons of steps involved in transparently limiting music and most of the parameters are completely non-intuitive. When I’m mastering my music, I don’t want to think about release and attack times, lookahead times, window shapes, multiband crossover frequencies, etc. but I want to dial in the limiter to match the music I’m sending it.

So we took over 30 parameters and combined them into a very simple and intuitive “Flavor” control. It really couldn’t be easier to use. You set your level, then adjust the flavor until it sounds good with your song. And if that’s not enough, The Wall comes with 3 completely different limiting algorithms that you can switch through very quickly. It’s just so easy to use.

MAIN FEATURES

• Dual Limiting Modes
• Huge variety of styles with simple interface
• Sanity Check normalizes your level so you can compare your original sound with the compressed sound without introducing a level change.
• Up to 8x oversampling to prevent intersample peaks.
• Dithering, because… Why not?

What’s new in Big Clipper 2?

• Resizable Interface
• Native Apple Silicon
• Asymmetrical distortion
• Oversampling
• Bias Control
• Simpler/More powerful interface
• Little Clipper 2 is included at no extra cost

Big Clipper 2 is what you get when you take a clipper and inject it with growth hormones, and then add a little extra MSG on top.

Clipping is a great way to transparently control the peaks of your tracks. When done subtly, clipping will make compressors and reverb sound more natural down the line, and give your mix an overall cohesive feel. But clippers have one glaring issue: They really fall apart when you push them too hard. There seems to be a very thin line between adding cohesion and breaking apart into a distorted mess. That’s where Big Clipper 2 comes in. Big Clipper 2 gives you the controls to be able to push it hard without breaking apart. Whether you need subtle clipping or heavy overdrive, Big Clipper 2 handles it with ease.

Is it a Clipper or a Limiter? It’s both! And you get to control how to combine them together.

Big Clipper 2 lets you blend the limiter and the clipper in 4 different ways (2 crossover modes, Blend Mode, and Serial Mode) giving you quick access to all sorts of clipping flavours.

Frequency Sensitivity

This is an incredibly powerful set of controls. It looks like an EQ, but instead of being a simple EQ, it adjusts the sensitivity the clipper has to the different frequencies. So if you want to distort the low end less, just turn down the sensitivity on the low end.

Features

• Hybrid Clipper/Limiter
• 4 Blending modes
• Frequency sensitivity control

The essential clipper. Little Clipper includes all the features you need from a clipper and lays it out in a way that makes it simple to dial in.

Why make a clipper when there are already so many? Little Clipper is the lighter, smaller version of its big brother (Big Clipper 2). Clipping is one of the more misunderstood processes in mixing. When used correctly, it can make mixing easier. Things just fall into place better and dynamics stay under control. As it is with all effects, however, it’s easy to overdo. Little Clipper makes it easy to dial in with clear meters that show you how much clipping is occurring, and all the essential features that let you dial in your clipping to be just the right amount.

Hard/Soft Clipping: Sometimes you need crisp hard clipping, sometimes you need smoother soft clipping. Little Clipper lets you choose easily how hard you want your clipping to be.

Stereo or Mid/Side: Little Clipper lets you choose your channel configuration for stereo tracks. We have found that clipping often sounds much more natural in Mid/Side mode on stereo buses. It even lets you clip only the mid or side channels without affecting the other, giving you even more control over your clipping.

I thought clipping was bad. Why would I do it on purpose? Just like all effects, clipping is bad when you do it accidentally. When used purposefully, it’s a powerful tool that can be used to increase your apparent dynamics without making your peaks jump all over the place. It’s especially powerful on drums. Just a little bit of clipping your snare before your compressor will give your compressor much more natural sounding, predictable results.

Audio Mastering Plugin

World class, broadcast quality limiting is an essential requirement for any audio production, and the latest standards also demand true-peak compliance. ISL delivers both, giving you superb sound with complete confidence about meeting the standards.

No need to second guess your sample-peak limiter time and again, or deliberately increase headroom to avoid a downstream problem. Just dial in your true-peak limit and let ISL take care of the rest.

Pristine Quality True-Peak Limiting

ISL is a transparent look-ahead limiter designed to allow you to get on with creative audio production while it takes care of true-peak compliance for you.

ISL uses the standardized true-peak algorithms of ITU-R B.S. 1770 and related standards(including Apple ‘Mastered for iTunes’ true-peak detection), and is suitable for the control of audio for Post Production and Broadcast applications. True-peak limiting can also be used to ensure that down-stream Codecs (mp3, AAC etc.) do not introduce distortion into the signal.

Powerful Processing and Visualizations

With unique Steering and Ducking meters, ISL2 guides you to the perfect settings. Whether you are preserving directional integrity, atmospheric ambience or taming a surround centre channel, ISL2 gives you the information and control you need to achieve your objective with ease. New processing enhancements assess the incoming audio for frequency content and automatically take care of those minor adjustments required when LF content drives the limiter, delivering increased transparency whilst maintaining our renowned reputation of intuitive operation.

Applications

• Post Production & Broadcast audio
• Audio Mastering
• Loudness compliance
• ‘Mastered for iTunes’ intersample clip monitoring
• Protection for downstream compression
• Preserving quality for streaming/podcast
• Inter-sample clip management

Transparent True Peak Limiting

• Adjust adjustable look ahead
• Two stage, non-linear adaptive algorithm
• Adjustable channel linking
• Includes iTunes True Peak option

Standard Compliant

• Compatible with ITU-R BS. 1770
• True brick-wall limited output
• Mono through 7.1 surround compatible

Clear, Intuitive Operation

• Intelligent adaptive algorithm
• Clear metering
• Multiple diagnostic listen modes

Reliable Metering

• Accurate, standard compliant I/O metering
• Precise direct numeric maxima
• Adjustable ballistics and colour splits

A Limiter for Plug-In Creators

With pure:limit, sonible has developed a new limiter for users who want to achieve the best possible sound without having to tweak too many complex parameters. Although this AI-powered plug-in is compact on the outside, it packs a powerful punch within. pure:limit effortlessly tames peaks, balances dynamics and finds the right level for a mix – all at the touch of a single button.

pure:limit ensures that the level and dynamics of every mix are in the sweet spot before any track leaves the creator’s studio. No matter whether the audio material features soulful vocals, bass-heavy samples, distorted guitars or a smooth podcast voice – the right amount of limiting is essential for any track to sound great on all speaker systems. In every scenario, pure:limit delivers.

Maximum impact without any of the guesswork

Sometimes maintaining a smooth workflow requires a tool that delivers straightforward results. With its automatic parametrization, broad range of genre-based profiles and instant replay, sonible’s new limiter plug-in takes hassle-free, efficient limiting to the next level. 

pure:limit is the right tool for creators who want to put the finishing touches on their mix without delving into parametric details. This limiter features a clean interface design that interactively visualizes the limited audio signal. Additionally, pure:limit offers two effective sound-shaping tools: to enhance the desired vibe, the “style selector” lets the user determine how forcefully the limiter should hit the signal, and the “inflate parameter” offers the option to create a richer, more vibrant sound.

Features

• Automatic parametrization for high-quality results
• AI-powered processing and genre-based profiles
• Sound-shaping features – style selector and inflate parameter
• User-centred, clean interface design

A true peak limiter is an essential tool for every mastering or mixing engineer.

Are you looking for a professional, feature-packed limiter that is loud and transparent at the same time, equipped with extensive loudness metering? Then FabFilter Pro-L 2 is your weapon of choice!

Top-class metering

FabFilter Pro-L 2 features precise true peak level meters and extensive loudness metering with support for the EBU R128, ITU-R BS.1770-4 and ATSC A/85 standards. Combined with its unique real-time level display, you have all the information you need to achieve the best possible results.

Professional feature set

With highly advanced algorithms, linear-phase oversampling, professional dithering and noise shaping and surround support (up to Dolby Atmos 7.1.2) and intelligent channel linking, FabFilter Pro-L 2 is the complete solution for every mixing and mastering job.

FabFilter goodies

Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, MIDI Learn, Smart Parameter Interpolation for smooth parameter transitions, an excellent help file with interactive help hints, SSE optimization, GPU-powered graphics acceleration and much more.

• Great transparent sound combined with maximum loudness
• Eight different limiting algorithms, all with their own character and purpose
• True peak limiting
• Unique real-time level display with peak gain reduction labels and new innovative display modes
• Up to 32x linear-phase oversampling
• Highly accurate output and gain reduction metering including true peak metering
• Extensive loudness metering with support for the EBU R128, ITU-R BS.1770-4 and ATSC A/85 standards
• Surround support including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking
• Optional DC offset filter
• External side chain triggering for stem mastering
• Unity Gain option to easily listen to the effect of the current limiting at unity gain level
• Audition Limiting option to listen to the difference between the input and output signal
• Adjustable meter scale, including K-System support
• Low CPU usage
• Separate channel linking for both the transient and release stages
• Advanced dithering with three different noise shaping algorithms
• GPU-powered graphics acceleration
• Double-click text entry of parameter values
• Adapts to stereo, mono and surround audio formats
• Adjustable look-ahead, attack and release settings
• Optional Compact interface layout
• Supports common Pro Tools hardware control surfaces
• MIDI Learn
• Undo/redo and A/B comparison
• Smart Parameter Interpolation
• Extensive help file with interactive help hints

Dead. Simple. Clipping

The only way to achieve modern loudness without destroying the punch and impact is with smart, purposeful clipping in the mix. Other clippers on the market are overcomplicated, overpriced, ugly, or all of the above… so we decided to make the clipper every real mixer wants: a dead-simple tool that gets the job done in seconds.

The Most Intuitive Clipper

With simplicity at the core of every plugin we develop, BSAClipper is no exception. This precision mix tool has only two controls, so dialing in an aggressively bold sound has never been easier.

Key Features

• Control the transients and dynamics of your signal via a digital hard clipping algorithm
• The signal from the input gain then feeds into our custom clipping circuit, which removes any transients and signal movements over its set Threshold.
• The Clipping Threshold slider is designed to give you direct visual feedback on the amount of clipping that is happening to your signal.