blasterlogoboss

• Waves L3-ll Ultramaximizer

Dguidry wrote on Mon, 05 February 2007 21:17I think Audiosuite processing in LE dithers plugins. RTAS plugins might, as well, be dithered.it would make sense. Anyone know the answer? I beleve that RTAS plugins process at 48 bits, back down to 24 but without any noise shapping. Who knows?Yeah, sorry I was thinking of TDM, not 100% on how LE does things.we had a long thread on this last year, where we discussed with the ins and outs of all the LE vs HD vs Others signal quality debate: might be worth a search to dredge it back up.

I'll have a look tomorrow if I get the chance and give you the link.very interesting.-fergal. Fergal Toohey wrote on Mon, 05 February 2007 21:59dguidry wrote on Mon, 05 February 2007 21:17I think Audiosuite processing in LE dithers plugins. RTAS plugins might, as well, be dithered.it would make sense. Anyone know the answer?

I beleve that RTAS plugins process at 48 bits, back down to 24 but without any noise shapping. Who knows?Yeah, sorry I was thinking of TDM, not 100% on how LE does things.we had a long thread on this last year, where we discussed with the ins and outs of all the LE vs HD vs Others signal quality debate: might be worth a search to dredge it back up. I'll have a look tomorrow if I get the chance and give you the link.very interesting.-fergalthat really was't the point. It is just the thread sort of sounded like if he had a pro-control and digi-converters and pre's his sound would be better. That would be misleading to a new commer with a LE system lusting after a TDM system when all he needs to do is buy a good light-pipe front end and some good tracking gear.

Same stuff he would need on a big HD rig too.On a new mac pro with the 48 track upgrade you could get by fine. Big studios need the i/o and the name to bring in clients. HD TDM systems do not 'SOUND' any better. They just offer realtime plug-in monitoring and almost no latency tracking. Brett wrote on Tue, 06 February 2007 02:41On a new mac pro with the 48 track upgrade you could get by fine. Big studios need the i/o and the name to bring in clients.

HD TDM systems do not 'SOUND' any better. They just offer realtime plug-in monitoring and almost no latency tracking.Well, HD systems will often be perceived as sounding better, not by virtue of the negligible signal flow quality difference, but because of their plugin delay compensation. It's the PDC that would really make me think LE isn't up to the job for mastering (unless one wants to manually compensate every time you try to do anything in parallel). Oh how far we have come from the L3-16 debate.-Fergal.

Revisiting this forum and topic:I purchased the L3-16 Multimaximizer about a month ago and have been remastering a few projects on which I had used the regular L3 multimaximizer. Waves unbundled the plugin from its Mercury package ($7000) so I was able to purchase it separately.Results: Kicks ass!!!!

If you are interested in loud while maintaining warmth and clarity, get it. If you are interested in more reasonable db level masters, get it!!! If you need quick turnaround on a project, get it.very forgiving of poor mixes.

You can achieve high db level masters with this plugin alone for which I used to have to double up using the L3 followed by the wide band ultramximizer to squeeze out the additional Green Day, Fall Out Boy, or Nickleback dbs. Dguidry wrote on Wed, 20 June 2007 03:00Revisiting this forum and topic:I purchased the L3-16 Multimaximizer about a month ago and have been remastering a few projects on which I had used the regular L3 multimaximizer.

Waves unbundled the plugin from its Mercury package ($7000) so I was able to purchase it separately.Results: Kicks ass!!!! If you are interested in loud while maintaining warmth and clarity, get it. If you are interested in more reasonable db level masters, get it!!! If you need quick turnaround on a project, get it.very forgiving of poor mixes. You can achieve high db level masters with this plugin alone for which I used to have to double up using the L3 followed by the wide band ultramximizer to squeeze out the additional Green Day, Fall Out Boy, or Nickleback dbs.I just downloaded the demo of L3-16 to try out.Results: Sucks ass!!!! Seriously, listening at low level you can clearly hear each of the bands pumping & punching a hole in the stereo image (using any of the profile settings, with some being worse then others) & the crossover distortion ruins the detail of the stereo image. It was slightly better in multi-mono mode, with the priorities adjusted, but it's not really a huge step up from the L3 imo, in fact it just sounded like it was punching more holes in the image then the L3.The benchmark for me was an A/B test with Ozone's Limiter section with the same threshold setting (in this case -4.3).

The Ozone limiter had a far more detailed stereo image which stayed in tact with no pumping & far less distortion & in general it sounded far more tonally neutral to the original source.Hmmm. Let me see TDM version of L3-16 $1200 or RTAS $770 +WUP. Ozone $249 with free updates. I wonder which one wins out. I'll let you decide, but remember to use your ears not your eyes.Matt. They say the heart of Rock & Roll is still beating, which is amazing if you consider all the blow it's done over the years.' The Internet enables pompous blowhards to interact with other pompous blowhards in a big circle jerk of pomposity.'

- Bill Maher'The negative aspects of this business, not only will continue to prevail, but will continue to accelerate in madness. Conditions aren't going to get better, because the economics of rock and roll are getting closer and closer to the economics of Big Business America.' - Bill Graham. I don't know about you guys but I after giving L3 a spin, I found it to be almost more destructive to a mix that a well-dialed multiband comp. Where you might use multiband compression to tighten low end, de-ess, or hold a vocal in place, multiband limiting often felt like it was causing more problems that it was fixing.Even when spending time with it to find the 'sweet' spot, the thing I found unsettling was that you could hear it float around the spectrum.

I'm sure it's fine for a dB here or there but when pressed, it just flat fell apart. I know this is not so.

I own both Izotope Ozone and L3-16 and can say without a shred of hesitation the Izotope is crap.no stereo image and very grainy when pushed. So I'm not sure what versions of the software you are comparing but you're way off.You know, you can argue all you want about the L3-16's qualities, but the kind of mastering volumes about which I'm talking, though rediculous in many eyes, can only be achieved with these types of plugins. Show me a mastered mix that's pushing -8 RMS and above on digi's phase meter, and I'll show you a piece that was mastered with a plugin.the same one.I A/B'd Fall Out Boy, Nickleback, and Green Day cd's with my mixes in wavelab 6 and am right on as far as volume and stereo spread, and drum punch.everything.almost my holy grail. In fact, the Fall Out Boy cd was thin compared to my mix of similar material. If I'm wrong about this, I'll go out and buy a Manely Passive and Eq tomorrow. If analoge mastering is better, in cannot imagine it.The L3-16 demo version may not have all the parameters of the full version, and this would make a huge difference in what you might be hearing. Dguidry wrote on Thu, 21 June 2007 14:35I A/B'd Fall Out Boy, Nickleback, and Green Day cd's with my mixes in wavelab 6 and am right on as far as volume and stereo spread, and drum punch.everything.almost my holy grail.

In fact, the Fall Out Boy cd was thin compared to my mix of similar material. If I'm wrong about this, I'll go out and buy a Manely Passive and Eq tomorrow. If analoge mastering is better, in cannot imagine it.Can you clarify these statements a bit? By 'thin' do you mean 'quieter', and by 'better' do you mean 'better at getting things really loud'? Thats what I got out of your post, and wanted to make sure I have your meaning correct.

When top mastering engineers sit down behind the board, they need to enhance frequency response and maximize levels while protecting the fidelity of their sources. That’s where the L3 comes in: The world’s first auto-summing multi-band limiter for all-in-one mastering.

Multiband peak limiter / level maximizer plugin. Linear phase EQ for sweet highs and punchy lows. IDR™ Increased Digital Resolution with double precision bit requantization and dither with 9th-order noise shaping filter. Master and individual ARC™ Automatic Release Controls.

Waves L3-ll Ultramaximizer

Also includes the L3 Ultramaximizer.

Pro tools 9 compatibility. ::: Please help. I'm using an iMac and it. I am trying to record from my technics turntables to Pro Tools (to record a live mix cd) but can't seem to get it going.