Waves LinEQ and L2 Ultramaximizer-Make your Masters Sound Loud and Big

If you have a weak sounding mix; like the one that sounds tiny on big speakers and lacking in bass punch or high end then it definitely needs some mastering. Audio mastering is done after audio mixing where you have successfully combined all tracks to sound good and balanced.

Intro to LinEQ (Linear Phase MultiBand) and L2

Waves LinEQ is a parametric equalizer from Waves that allows you to shape the sound beyond ordinary equalizers. This will allow you to cut and boost up to 30dB at different Q settings, filter mode and even different methods. What is great is that even at extreme boosting and cutting; it won’t add discolorations or distortion.

L2 ultramaximizer is a tool to maximize the volume of the audio after EQ implementations. This is usually done after LinEQ adjustments. This is a limiter that is capable of bringing up the volume without any distortions. Also this limiter features a dithering plug-in called as IDR that will let you dither a 24-bit to 16-bit without any issues.

These two important mastering tools are available from Waves Masters Native Bundle:

Using LinEQ and L2: Example Applications

OK let’s have an example, supposing you are provided with a 16-bit/44.1KHz WAV file of the mix. This is how it sounds in mp3 (not yet altered with any mastering tools, this is a cheer dance music mix):

Listening closely, it reveals a lot of issues mentioned below (other than the volume is low because that’s normal for a raw mixdown):

a.) There is no clear bottom end. Since this is a cheer dance music mix, the bottom end should be clear.

b.) I noticed some mud somewhere in the 200Hz range.
c.) The overall presence of music is lacking. The raw mix sounds like its coming from a low-fidelity radio.

d.) Also there is no high end that adds some brilliance and air to the mix.

e.) I noticed some slight sibilance around 5000Hz to 8000Hz range. Probably this is due to the mixing of several mastered dance music that has some sibilance on them.

If you have not noticed the above issues, make sure you are listening in an accurate listening environment (such as with nearfield monitors) and switch to moderate volume (by increasing the monitor volume in your audio interface.)

Using LinEQ to solve equalization issues

Before you alter the waveform; you should increase the bit depth and sample rate from 16-bit/44.1KHz to 32-bit float/96KHz (or 24-bit/96KHz if your audio mastering software does not support 32-bit float). This process is called up sampling. The primary reason is that you are altering digital audio data so make sure you upsample them to have more space for adjustments. I use Voxengo R8brain for this job.

Just set it to change sample rate from 44.1 KHz to 96 KHz and the bit depth from 16 to 32-bit float. Also set the quality to “very high”.

Now open the completed 32-bit float/96KHz audio in your audio mastering software with LinEQ plug-in. I apply the following EQ settings which are quite an extreme setting:

The 12.5dB boost is meant to solve the lack of low end, I attempt a lower gain settings but it’s not just enough. I also cut around 250Hz to remove some muddy sound in the mix and cut a little 5000Hz to reduce sibilance of the mix. I based the EQ settings gain and Q based on what I hear, and make sure you are working with accurate monitoring environment.

The method I use is “Low Ripple” because the EQ settings are a bit of extreme. Low ripple can reduce the side lobe formation of EQ bells adjustment according to the LinEQ manual from Waves. This will give a cleaner and natural sounding EQ result.

Using L2 to maximize the volume

Before you will apply L2 limiter, it is best to convert the sample rate back to 44.1 KHz so that it will be easy for you to apply limiting and dithering all at once. Process the LinEQ output to Voxengo R8brain by converting the sample rate from 96 KHz to 44.1 KHz. Do not change the bit depth; use the same bit depth such as 32-bit float before and after sample rate conversion.

Load up 44.1 KHz, 32-bit float audio (after sample rate conversion) to your mastering software. Then compute the average volume of the track before limiting. In Adobe Audition, I simply go to Analyze – Statistics. Get the Average RMS power; this is the average volume; supposing it is -24.3dB. If I am targeting a -13.5dB after limiter, the threshold on L2 will be:

Threshold= Average volume before limiter + 13.5dB
Threshold = -24.3dB + 13.5dB = -10.8dB

Finally the L2 limiter settings below (I use the high resolution CD master presets with threshold set as computed above):

This is the final master in 16-bit/44.1KHz. Take note the big difference in low end punch, mid and high frequencies as compared before:

Mixing credits by: Coach Janeen,
@SCA Varsity Cheerleaders

Content last updated on August 5, 2012