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Wow that was a pretty arrogant and smug thing to say. And it will sound more like the original mix than the one you used with the L2. My master will have no undesirable distortion. I'll make a master with FG-X, and you make a master with L2. Upload a music mix (with headroom) that needs loudnessizing. Having said all that, I'm up for the following challenge: Furthermore, the ITP process was built and tested on modern musical mixes, and therefore, I'm not sure I understand how processing test tones with it will reveal anything practical about it's affect on actual music (although ahjteam does say that he has heard artifacts on music and if he posts the mix in question I can probably figure out why). but I also don't usually master square waves since my current musical preference is saw waves (easy listening for early morning workouts). For one thing, there was no mention about the ITP value and there should be since I wouldn't use the default value on a square wave. You must understand its controls and how they interact with the audio. The FG-X (specifically the FG-Level module) is a tool, but its not a robot. It became pretty close to what I was looking for.Īnd with the slope on the other edge (slope -12.0 aka soft slope):Īnd that includes my rant from this evening. It causes distortion, and when I was using it on musical context, it was really audible.Īnd here is the same test with IK Multimedia T-Racks Classic Clipper (gain +5.9 and slope 0.0 (hard), output 0.0). The picture on the left is L2, the picture on the right is FG-X So how long is 64 samples? at 44.1khz samplerate it's 1.45ms, so not noticeable.įor reference I did the same test with Slate FG-X with seemingly same settings (dither off, comp off, Gain +5.9dB), and I also noticed immidiately why I don't like. I checked from the plugin settings that the plugin has 64 samples of latency and when I zoomed in, that the ducking the L2 did before and after the threshold is exactly 64 samples long. In the ideal world, the result would be a straight square, no distortion. Otherwise default settings except threshold at -5.9dB and dither off Then I used L2 with these settings and recorded the results: If someone wants to try the test out with your own weapon of choice, the file is here: I made a really short clip of 22khz squarewave at -6dBFS level and then made 20 samples go to -0.0dBFS. This has to be absolutely LAST in the processing chain, or the next plugin will destroy the effect, so again, its a mastering thing basically.So, THE reason why I still prefer Waves L2 over say Slate FG-X is because it doesn't make my mix sound distorted, and I wondered why for long, so I decided to make a scientific test. Not worth losing too much sleep over unless you are converting from a 24/32 bit mixdown to a 16bit for-the-CD copy. Its almost invulnerable at these levels but push it real far (like 12db or something) and you do start hearing it limit (sounds a bit crunchy, pretty much like clipping).Īlso it contains some funky noise-shaping dithering. Generally I only shave about 2db with this badboy, sometimes 4ish, never go much further than that.
#How to use l2 ultramaximizer free
eg, put it at -4db, and the output at 0db, and you get 4db of free gain. Usage: the left-hand slider is just at what level it starts limiting, so it pretty much equates to "how much louder u want to make it". altho I occasionally use it on individual channels too - when a track is basically compressed enough, except for a few peaks which are too quick for a normal compressor to catch (what with attack time and all), a little L1 can sort it out for ya. generally used for mastering, just to get another couple of dBs out of the track, "invisibly".
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Its a look ahead peak limiter - basically just excellent at getting rid of really short crappy peaks in your sound. All it does in practical terms is make things louder, dont expect to hear a major change to your sounds