background image

L3-16 User Guide 

 
 

1.3 Concepts and Terminology 

The Peak Limiting Mixer

 

A traditional multiband limiter consists of a given number of limiters operating independently of each 
other, each set to a particular frequency range. The key to the L3-16’s power is its patent-pending Peak 
Limiting Mixer™ (PLMixer™) engine, which uses a single peak limiter to control all of its bands. 
 
Dividing the audio spectrum into 16 bands using linear phase crossover filters, the PLMixer™ uses 
psychoacoustic criteria to intelligently decide how much attenuation to apply to each band, using all 
available headroom. The PLMixer™ incorporates superimposed Gain and Priority curves that allow the 
user to set gain (which functions exactly like placing a linear phase EQ before the L3-16’s limiting 
section) and priority (relative limiting) across the audio spectrum. The result is that inter-modulation 
distortion is minimized and overall loudness is maximized, while retaining the simplicity of a single 
master threshold control. 
 
Unlike traditional multiband limiters, the PLMixer™ does not require a wide band peak limiter to catch 
overshoots generated by individual band adjustments; it automatically controls the gain relationship 
between bands while maintaining brickwall limiting. 

Limiter bands vs. Paragraphic-EQ bands 

The L3-16’s Gain/EQ and Priority curves make for a very powerful mastering tool, enabling both 
paragraphic equalization and multiband limiting. Controlled by a 6-band Paragraphic EQ-style interface, 
these curves are implemented by a 16-band linear phase crossover engine. The Equalization (Gain) 
and Priority curves are essentially overlaid on top of the 16 bands, in the way you would overlay a 
frequency-response curve on a graphic EQ’s sliders.  

Separation 

The L3-16 linear phase crossover allows control over the amount of Separation between its 16 bands. 
Separation is basically the cutoff slope (or Q) between the bands. At low Separation settings, crossover 
slopes between bands are moderate, creating more overlap between the bands. At higher Separation 
settings, the crossover slopes are steeper, resulting in less overlap between the bands. 
 

 

 

Summary of Contents for Multimaximizer L3-16

Page 1: ...L3 16 Multimaximizer User Manual...

Page 2: ...L3 16 User Guide 2...

Page 3: ...NTROLS SECTION 11 Main Display 12 Paragraphic EQ Priority Controls 13 3 3 IDR SECTION 15 CHAPTER 4 THE WAVESYSTEM 16 4 1 THE WAVESYSTEM TOOLBAR 16 Toolbar Functions 16 4 2 PRESET HANDLING 16 Preset Ty...

Page 4: ...st that you become familiar with www wavesupport net There you will find an extensive Answer Base the latest Tech Specs detailed Installation guides new Software Updates and current information on Aut...

Page 5: ...ncy Q and filter type The L3 16 features a linear phase crossover network to deliver results that are free of phase distortion Similar to the Profiles used by its predecessor the L3 the L3 16 offers a...

Page 6: ...a single master threshold control Unlike traditional multiband limiters the PLMixer does not require a wide band peak limiter to catch overshoots generated by individual band adjustments it automatica...

Page 7: ...lease Character could consist of relatively fast release values for the low frequency bands with gradually slower release values for the higher frequencies Accordingly this character would apply more...

Page 8: ...vel 3 Experiment with various presets from the Load pull down menu 4 Select the Threshold Out Ceiling Link control located between the Input and Output meters and drag downward while watching the Atte...

Page 9: ...ter Range 30dB to 0dB Default 0dB Threshold is probably the most important control of the L3 16 as it sets the global limiting threshold as the reference threshold for all 16 bands Once set any signal...

Page 10: ...and the Out Ceiling faders simultaneously allowing threshold setting changes while monitoring the limiter effect without its makeup gain action Attenuation Meter Range 30dB to 0dB The Attenuation Met...

Page 11: ...deBand ARC L3 WideBand Manual L3 Warm Cosy L3 Loud Proud L3 Lean Mean L3 Low Level Loudness Separation Range Low Medium High Default Medium The Separation menu sets the Q for the multiband network cro...

Page 12: ...the limiter s threshold results in more limiting being applied to that band Priority allows you to control the amount of limiting applied to each band Higher Priority results in less limiting in rela...

Page 13: ...tment of the Gain and Priority controls Priority Range 18dB to 18dB Default 0dB Priority adjusts the relative limiting or relative attenuation distribution across the bands Raising Priority applies le...

Page 14: ...each of the 6 Paragraphic bands The higher the Q setting the narrower the range of frequencies that is affected Filter Type Range Bell Low Shelf High Shelf Default 1st band Low Shelf Bands 2 5 Bell 6...

Page 15: ...s a lower noise level than Type 1 at the expense of some low level distortion Type2 is auto blacking with no input signal In other words if the input signal is digital black no signal at all there is...

Page 16: ...lls presets from file Save Saves presets in the Waves file formats Opens the manual for the processor you are using 4 2 Preset Handling Preset Types Factory Presets are permanent presets in the Load m...

Page 17: ...d idea to create a folder in which to save several setup files for a project Save File Name Preset Name Overwrites the settings of the loaded preset whether a User Preset or a preset from a Setup File...

Page 18: ...rol is the target for both mouse and keyboard entry Toggle Buttons Toggle buttons display the state of a control and allow switching between two or more states Single click to change the control s sta...

Page 19: ...ment to the X or Y axis vertical drag will lock frequency but allow gain change and horizontal drag will lock gain but allow frequency change Alt click PC Option click Mac and horizontal drag allows Q...

Page 20: ...onally the Mac has an option TAB function for down movement and shift option TAB for up movement where applicable If you have several Value Window Buttons selected TAB functions will take you through...

Page 21: ...Priority 2 Hi mid Suppressor 1 Hi mid Suppressor 2 Lo mid Suppressor Sub Suppressor L3 Basic Profile L3 Extreme Analog L3 Semi Separated L3 WideBand ARC L3 WideBand Manual L3 Warm Cosy L3 Loud Proud L...

Page 22: ...spleasing to our ears Here s how Dithering and Noise Shaping help maintain 3 more bits of detail Our brains are capable of perceiving details that are lower than the noise floor Since quantization noi...

Page 23: ...round 12dB The added high frequency noise is about 15dB at 44 1 kHz sampling rate This setting together with Type1 dithering is well suited to the creation of CD production masters It is also good for...

Reviews: