- #How to use the waves l1 and l2 ultramaximizer plugins serial#
- #How to use the waves l1 and l2 ultramaximizer plugins software#
- #How to use the waves l1 and l2 ultramaximizer plugins professional#
The associated bar‑graph meter shows the level of the input signal. The control labelled Threshold is that which raises the level of the input signal and pushes it against the limiter.
A peak‑hold facility is provided, and a separate button resets the peak hold for both channels. The Out Ceiling control determines the channel's desired peak output level, and the adjacent meter shows the output level.
#How to use the waves l1 and l2 ultramaximizer plugins software#
Each channel has an input level trim followed by three larger controls, with associated three‑digit plasma displays and 16‑segment bar‑graph meters, that duplicate the functions of the software plug‑in. The left‑hand side of the front panel is given over to a row of switches used to select the input type, clock source, sample rate, output bit‑depth and noise‑shaping options - the output resolution can be set to 16, 18, 20, 22 or 24 bits. The fact that upward level changes are involved also means that there may be a benefit in using the noise‑shaped dither even when the input and output are both set at 16‑bit resolution, as the processed signal (inside the box) will almost certainly end up at a higher resolution than this. This high resolution helps minimise the errors that inevitably occur when any digital data is changed in level (due to mathematical truncation errors).
Should you wish to feed analogue signals into the unit, both balanced and unbalanced I/O (on quarter‑inch jacks and XLRs) are catered for, operating at +4dBu and incorporating high‑quality 24‑bit converters.īecause the L2 Ultramaximizer can accept signals of up to 24‑bit resolution, and as it will usually be required to increase the level of these signals, the internal processing is performed to 48‑bit precision.
#How to use the waves l1 and l2 ultramaximizer plugins serial#
A word clock input is provided, for synchronizing the unit to a master clock, and there is also a nine‑pin serial port on the rear panel, allowing for remote function control. Stereo digital audio can be supported at any of the common bit depths and sample rates up to 24‑bit/96kHz, and can be received and passed on through either AES‑EBU or S/PDIF input and output sockets.
#How to use the waves l1 and l2 ultramaximizer plugins professional#
The L2 is basically a stand‑alone, 2U‑rack, hardware version of the plug‑in, which not only mimics the software functions, but which also has some extra refinements and comes with a host of professional interfacing for use in mastering systems. The L2 offers impressive connectivity - AES‑EBU, S/PDIF, word clock, nine‑pin serial port, and both jacks and XLRs. Strictly speaking, you should always have the IDR switched on, both when reducing bit depth for any reason, and as the last process in the production chain - usually the maximum depth of IDR would only be used at the final stage of mastering. There are also three 'depths' of IDR that can be used to provide perceived resolution improvements of 6, 12 and 18dB respectively - this is equivalent to adding dither noise to the value of one, two or three bits. Typically, the perceived dynamic range can be improved by up to 18dB over what would normally be expected for undithered signals of a given bit depth - which is equivalent to three additional bits of resolution! Two IDR options are available: Type 1 produces the best distortion and linearity figures while Type 2 is optimised for the lowest noise. IDR allows high bit‑depth signals to be reduced to any target bit depth while retaining as much dynamic range as possible - a number of noise‑shaping options are available to suit different types of material. Included in the L1 was Waves' own IDR noise‑shaped dithering system developed in association with the late Michael Gerzon, a much‑respected and highly talented audio pioneer. The result of this system was that you could both limit and normalise in one operation.
A third control varied the limiter's release time. However, it was also a masterpiece of ergonomic design - the usual rash of controls was replaced by just two main sliders, one setting the peak level at which you wanted your signal to end up, and the other increasing the input gain of the signal to push it up against this limiting threshold. Essentially, the L1 Ultramaximizer was a very clever look‑ahead limiter that managed to skim the top few dBs from the peaks in your mix without introducing audible side effects.
The original Waves L1 Ultramaximizer plug‑in for Sound Designer II has been a mainstay of my digital‑editing and mastering system for a number of years, yet its ability to coax increased subjective level out of an apparently 'maxed out' track never ceases to amaze me. Paul White lives life to the max with the new Waves L2, a mastering limiter with all the trimmings.
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