I've sometimes found this claim a bit optimistic, but even so, there's no denying that L1 and L2 can achieve some impressive results. Waves say that with most material, it should be possible to achieve at least a net increase of at least 6dB before distortion and other side-effects become obvious. The net gain in loudness is thus equal to the difference between the Threshold and Out Ceiling settings.
Output Ceiling then 'scales' the results so that the output signal never exceeds the Ceiling value. There are only two major controls: Threshold sets a level below 0dB to which the input signal is limited, and automatically applies the same amount of make-up gain. The genius of L1 and L2 lies in their ease of use. The second is to dither the final output from your digital audio workstation to 16-bit for CD mastering (see box). The first is to increase the subjective loudness of incoming digital audio, without introducing clipping or other obvious distortion. In this quest for ever-louder CDs, two of the most popular weapons have been Waves' L1 and L2 peak limiters, which the company call 'Ultramaximizers'. And when record company executives got their heads round the idea that these devices could be used to make their CDs louder than the competition, even the best mastering engineers found themselves under pressure to deliver flatlined mixes. In the wrong hands, however, they could turn a bad mix into an unlistenable master, eliminating any trace of dynamic variation. In the right hands, they could add that last bit of sparkle and polish that would make a finished mix sound like the work of a professional. Take, for example, the digital mastering processors that appeared in the '90s. Sometimes new technology gives us new ways to screw things up. If you want your mixes to go to 11, Waves' new mastering limiter might be the weapon you need. Here, I've gently boosted the upper-mid frequencies and cut the low mids. The Multimaximizer version of 元 can act as a mastering equaliser as well as a multi-band limiter.
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