The L2 is also a single-band limiter meaning it applies limiting to the entire track as one frequency range. People still love it because the L2 is what’s called a brickwall limiter – used for when you want to define a set level that your track can’t go past in any way – exactly what you want in mastering to prevent unwanted digital clipping and distortion. It was the first digital plugin that managed to squeeze an incredible amount of level out of a track while still maintaining a great sound and imparting an analog flavor. There was a period of time in the early 2000s when almost everything you heard on the radio had been mastered with the L2 Ultramaximizer limiter. Use the most idiot-proof mastering limiter ever made. So how do you do achieve this in the real world? This not only raises the volume level of the entire track – it removes the dynamic range within the track, giving the listener a higher perceived sense of loudness. When you increase the loudness using a limiter you’re actually lowering (sometimes referred to as “squashing”) the gain of the loudest parts while simultaneously raising the gain overall. When you raise the volume on a fader – you’re raising the level of the entire track – meaning the loudest parts will get louder and the softest parts will get equally louder. Within that track there’s a certain dynamic range from the softest note to the loudest. If you want a track to sound louder, then raising the volume isn’t enough because that track is one of many in a mix. Just make sure you don’t go into the red or you’ll encounter digital clipping (more on that in a minute). If you want to raise the volume of a track, then simply raise the fader.
That’s because loudness isn’t only measured with a meter – it’s also measured with your ears. Two tracks can be set to the same volume level yet sound drastically different in loudness. One thing that took me a long time to understand properly was the difference between volume and loudness. So why do so many producers and engineers in the industry still use a mastering plugin that’s been around since the days of my first Gold bundle?īecause nothing that came after it has the combination of simplicity and effectiveness at getting the job done – getting your mix as loud as can be. That’s what happens when technology advances. TrueVerb fans became Renaissance Reverb fans who became IR-1 fans who are now H-Reverb and Abbey Road fans. I’ve been a Waves user for 18 years now, having bought my first Gold bundle in 2004.Īlong the way I’ve seen the popularity of various plugins come and go.
0 kommentar(er)
