What happens when an audio engineer who tends to be skeptical of plugins reviews them?
Let's find out.
In 1999 Waves Ltd. released the rack mount L2 UltraMaximizer.
Mastering and mixing engineers picked them up and incorporated them into their rigs by the droves.
Among the early adopters were; Dave Collins, Stephen Marcussen, Ted Jensen, and Bob Ludwig.
And why not? It has 24/96 conversion, a 48-bit digital signal path, bit-depth output to 24 bits, S/PDIF and AES/EBU inputs, and controls that make it comfortable for the most die hard analog stalwart.
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The appeal of the L2 was the ability to raise the level of program material without the audible side effects. Among some of the interesting features were ARC (Automatic Release Control), IDR (Waves proprietary dither and noise shaping engine), and the unique look ahead feature of their brick-wall limiter.
In 2002, Waves Ltd. released a plugin for ProTools TDM that emulated their award winning rack-mount version. I remember at the time, the authenticity of it being argued in forums online, but despite the critics, the L2 became a staple for; producers, mixers, and mastering engineers.
Some Facts: The L2 plugin (like its hardware counterpart) uses a double-precision algorithm with a 48bit integer. Meaning if you use a high grade AD/DA and word clock there should be no difference between the plugin and the hardware unit.
Some time in 2006 the hardware unit was discontinued and your only option for that now famous L2 application was to find one second hand or to use the plugin, which ran you $600 at the time.
Now, in 2016 there are software limiters that can raise the level of audio with less side effects then the Waves L2. Software developers like FabFilter, iZotope, and Sonnox have taken the reigns from Waves when it comes to making things loud transparently, but the L2 still has a place in at least my workflow.
The L2 though promoted in years prior to be a transparent way to raise the level of your program material, actually has a tone it imparts to the audio. It pushes forward the mid frequencies, some call it distortion, but nonetheless it's a useful thing for snares, guitars and vocals if you want to avoid using an equalizer.
Verdict: The L2 is still a viable plugin, but if your purpose is to use it to reach more level transparently, there are better products for that these days.
Some Tips for using the L2...
- Try it in un-linked mode. Sometimes unlinked allows for less obvious 'pumping'.
- It shines between 1-1.5 of gain reduction.
- The dither/noise engine is on by default, turn that off.
- It's best when used on material that's already seen some compression.
