In addition, the L2's converters' performance was equal to the best dedicated converters on the market. The first Waves hardware L2 Ultramaximizer unit became a standard piece of gear in the best mastering and post facilities because of its ability to significantly increase signal level without introducing audible artifacts. The L2 Ultramaximizer limiter, heard on countless hit recordings and soundtracks, has a very fast overshoot-free response that puts the sound up-front with astonishing transparency. The Renaissance Compressor is also capable of low-level compression/expansion.
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Full control of threshold, ratio and attack are included, along with Waves' ARC (Automatic Release Control) that tailors the release time to the input signal, reacting in a way similar to the human ear, according to the company. Two compression modes are offered: 'Opto', which models a vintage optically driven compression system and 'Electro', a modern-sounding compressor implementation. The Renaissance Compressor provides the classic sound of analog compression, adding warmth and control to full mixes, vocals and instruments alike. In addition, MaxxBass is ideal for adding deep and warm low end to archived music that lacks the powerful bass expected today. Used in this way, the original content of the low frequency spectrum is retained, while MaxxBass is dialed in to generate harmonics that actually allow listeners to hear the lower notes, even on small systems. This allows mastering and post production engineers to create audio that translates well to consumer systems of varying size and capability by creating a "second level" of bass sound specifically aimed at small systems. The MaxxBass harmonics and the original bass can be mixed in any proportion at the output. The dynamics of the original bass are duplicated in these harmonics, resulting in a very natural-sounding bass enhancement. MaxxBass uses psychoacoustic principles to generate harmonics that add bass sound without adding bass frequencies, allowing listeners to hear bass lower than physically present. All processing is performed in a 48-bit end-to-end path. MaxxBCL incorporates three of Waves' well-known audio processors in a 2U rack-mount configuration: MaxxBass enhancer (which features a second-generation algorithm used in the company's Renaissance Bass) Renaissance Compressor and L2 Ultramaximizer limiter. In addition, the new unit's analog-to-digital and digital-to-analog converters exceed the performance of the converters in the L2 Ultramaximizer hardware unit. Waves has announced the MaxxBCL, a new processor that combines Waves' MaxxBass enhancer, Renaissance Compressor, and L2 Ultramaximizer limiter in one hardware unit for the first time.
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Thanks again and finish that album so we can hear it.FREE EBOOK DOWNLOAD ► LEARN AUDIO ONLINE ► One last question, do you ever adjust the stereo spread when you master? If so what do you use and where do you place it in the chain. I like you tips (dont have a hardware L2 though) I am running EQ-COMP-LIMIT as my chain right now. I was just wondering if anyone on the board had a prefrence for metal. Both are loud enough for cd-dupe and relase. If I slow the relase it ends up perserving the mix dynamics but loosing the volume oomff. But we loose some of the snare dynamics and the guitars feel pressed. If I release quick the volume of the track is louder for sure. The attack is always pretty fast regardless. I am having success mastering with both fas and slow relase times on a project.
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On to the post, I agree there is no cookie cutter approach nor is there a magic peice of gear for mastering. Makes the stuff easy to focus on the grooves and riffs and not the harsh noise or thin cluttered production that most bands that blast end up with! The cleanest and heavist sounding blast beats around. The mp3 for the new stuff sounds well amazing. Your mileage (and dynamics) may vary.įirst off I got to say Vile kicks ass. So to summarize, ever-so-slightly slam it with a fast release, then make yourself feel better about your RMS "loudness" with a long release. Fastest release (doesn't matter, though), prevent intersample clips, max out input and output thresholds (don't use 'em, basically), or output at -0.03 (shouldn't matter). Use the DC offset filter and Megabitmax dither. Ozone: Just use it for whatever the "maximizer" function is.
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ARC mode, no shaping or dither, -0.5 to -1.5 threshold (depending on how squishy you want it), output at -0.03 into. 元 Multimaximizer: With the utmost subtlety, take advantage of the multi-band tonal shaping possibilities of the 元 Multi (Mulchie) if necessary.
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Lower the threshold so that it barely attenuates the peaks, but with a fair amount of regularity - ie snare hits.
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元 Ultramaximizer: Fastest possible release 0.01?, no shaping or dither. Sent you a PM, but not sure if yer checkin'.