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- #HOW GOOD IS L2 ULTRAMAXIMIZER 64 BIT#
- #HOW GOOD IS L2 ULTRAMAXIMIZER FULL#
- #HOW GOOD IS L2 ULTRAMAXIMIZER PROFESSIONAL#
Sometimes dither and/or noise shaping brings it back to almost what the 24 bit master sounds like when doing nothing would leave it 'subdued'.
#HOW GOOD IS L2 ULTRAMAXIMIZER FULL#
Sometimes not touching anything gives you a 16 bit copy that sounds as close as you will get to the full master. This can even be oddly program dependent. Making the 16 bit copy from the 24 bit master. The only real use left for dithering is when creating the reduced copy for the CD version of your release.
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To put that another way, if some of the content of my mix is lurking around down in the decimal dust to the point of needing to boost it by adding dither, then my mix needs serious help! I think 24 bits gives you so much headroom to begin with that this would be an entirely moot point.
#HOW GOOD IS L2 ULTRAMAXIMIZER 64 BIT#
I guess some people claim it helps with the final 64 bit fp to 24 bit integer wordlength reduction on the master output.
#HOW GOOD IS L2 ULTRAMAXIMIZER PROFESSIONAL#
It gives the mix this professional sparkle that takes it from being an already good sound to a great professional polished sound.I can get the Waves L2 Ultra Maximizer cheap. I also use a Waves L2 Ultramaximizer clocked with the desk at 96k as a final stage of compression and boost, to get everything back to a nice tight overall level and sound. “I use the Waves CLA-76 Compressor/Limiter to take the edge off of the mix and enhance the overall sound. On the master of the mix and sometimes on individual instruments,” he concludes. I’m using this on the acoustic guitars and anywhere else it’s needed for that extra-accurate frequency compression.
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Waves’ C6 Multiband Compressor is another great compressor that comes in handy when you need that ‘do-it-all’ multi-band compression. It is so clear and precise, and it has lots of features to let you really dial in the delay you need for any application. Waves H-Delay Hybrid Delay is my go-to delay, which I use for all my tempo and slap delay purposes and for adding tails to certain phrases or words in the songs. This is a super handy plugin to have in a live setting as well. “Waves Primary Source Expander is another Waves plugin I use a lot, to control background noise and cut down on unwanted sounds around each mic. I also use it for parallel compression applications such as on drums or other grouped instruments. I also use the SSL G-Channel as a master buss compressor, because it really adds to the sound of whatever it is on, and it helps keep everything in control. Since I started using the F6, it is my go-to EQ, as it gives you so much control over anything it’s on. Regarding Waves plugin deployment, Chapman explains, “We started with the Waves F6 Floating-Band Dynamic EQ, placing it on every input in order to accurately EQ as well as compress or expand frequencies, to enhance whatever vocal or instrument is happening at the time. OBS basically gives you multiple audio, video and live-streaming settings to optimize performance.” The reason for using OBS is that it bypasses the typical live-stream compression of the social media sites, so that the sound and video are much clearer. We then start up YouTube or Facebook using a streaming key, and then copy and paste that into OBS, which talks to the social media sites, so you get the video and audio though that. I am running through a Waves SoundGrid Extreme Server, then taking a basic audio output straight into the computer and using the computer camera as the video. He adds, “We had to come up with a simple solution using my Avid S6L 32D and a Waves SoundGrid Rack for Venue enabling us to run Waves plugins directly within the console. I think this is a great way to still reach the fans and keep the creative energy flowing.” Peter More had a tour planned and still wanted to perform, so we jumped onto the live-stream bandwagon and started with a few short set live-streams over Facebook and YouTube, and then we were asked to do the SofaKing Fest stream. “In this time of COVID-19,” says Chapman, “we happened to be recording at my Cabin Studio just when the quarantine started. Mix engineer Herbert “George” Chapman, who has handled front of house for performers such as Marilyn Manson, Deadland Ritual and Joe Perry as well as monitors for Steely Dan and Donald Fagen on his solo tour, is utilizing a SoundGrid Rack for Venue, Waves SoundGrid Extreme Server and Waves plugins for livestreaming a show based on Peter More’s latest record Beautiful Disrepair (produced by Donald Fagen) from the Cabin Studio in Austin, TX.