Waves Multimaximizer L3-16 User manual

L3-16 Multimaximizer™
User Manual

L3-16 User Guide
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L3-16 User Guide
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TABLE OF CONTENTS
CHAPTER 1 – INTRODUCTION ..................................................................................................................................... 4
1.1 WELCOME ................................................................................................................................................................. 4
1.2 PRODUCT OVERVIEW ................................................................................................................................................ 5
1.3 CONCEPTS AND TERMINOLOGY ................................................................................................................................. 6
The Peak Limiting Mixer™ ....................................................................................................................................... 6
Limiter bands vs. Paragraphic-EQ bands ............................................................................................................... 6
Separation ................................................................................................................................................................. 6
The L3-16 Release Character System.................................................................................................................... 7
1.4 COMPONENTS ........................................................................................................................................................... 7
CHAPTER 2 – QUICKSTART GUIDE ............................................................................................................................ 8
CHAPTER 3 – CONTROLS AND INTERFACE.............................................................................................................9
3.1 GLOBAL LIMITER SECTION ........................................................................................................................................ 9
3.2 PARAGRAPHIC EQ/PRIORITY DISPLAY AND CONTROLS 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 Types ...........................................................................................................................................................16
Loading Presets and Setups..................................................................................................................................17
Saving Presets and Setups....................................................................................................................................17
Deleting Presets......................................................................................................................................................17
A/B Comparison and Copying ...............................................................................................................................18
4.3 INTERFACE CONTROLS............................................................................................................................................18
Toggle Buttons ........................................................................................................................................................18
Value Window Buttons ...........................................................................................................................................18
Faders......................................................................................................................................................................19
Band Markers..........................................................................................................................................................19
Multiple Selection of Controls ................................................................................................................................19
TAB Functions.........................................................................................................................................................19
APPENDIX A – CONTROLS LIST ................................................................................................................................21
APPENDIX B - IDRIN DEPTH ..................................................................................................................................22
Dithering and Noise Shaping .................................................................................................................................22
IDRDither Options ..............................................................................................................................................22
IDRNoise Shaping Options................................................................................................................................23

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Chapter 1 – Introduction
1.1 Welcome
Thank you for choosing Waves! In order to get the most out of your Waves processor, please take the
time to read through this manual.
In conjunction, we also suggest 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 Authorization and Registration.
By signing up at wavesupport.net, you will receive personalized information on your registered
products, reminders when updates are available, and information on your authorization status.

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1.2 Product Overview
The Waves L3-16 Multimaximizer is a 16-band auto-summing peak limiter, the fourth processor in
Waves’ acclaimed L-Series of Ultramaximizers and Multimaximizers.
Powered by an advanced version of the Waves PLMixerPeak Limiting Mixer engine, the L3-16 offers
Gain and Priority controls arranged in a 6 band EQ-style interface with familiar parameters like
frequency, 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 wide variety of sonic flavors
known as Release Characters, ranging from analog warm to digital cool. Release Characters affect the
behavior of the L3-16’s ARCAutomatic Release Control across the split-band spectrum.
Finally, the L3-16 features Waves IDRIncreased Digital Resolution double precision bit re-
quantization and 9th-order noise shaping system, for enhanced audio resolution at any setting.

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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.

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The L3-16 Release Character System
The L3-16 offers a wide range of sound qualities which are controlled using the release settings across
its 16 bands.
Like its predecessor the L3, the L3-16’s band release times are determined by Waves ARC™ Auto
Release Control, which dynamically chooses the optimal release value for a wide range of inputs. The
ARC system, like the human ear, analyzes and reacts to RMS and peak transients differently, resulting
in increased RMS level with greater clarity.
Since ARC™ allows independent release values for each band, a wide range of sound colors are
possible. We consolidated these settings into Release Character presets, since the control of so many
parameters is a potentially cumbersome task.
For example, a Release 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 attenuation to the higher frequency range.
The L3-16’s Release Character system is further controlled by the Release fader, which proportionately
shortens or lengthens each band’s release values.
The L3-16 offers a wide range of preset Release Characters, and we highly suggest that you
experiment with its various parameters in order to discover the wide range of sonic flavors the L3-16
can achieve.
.
1.4 Components
WaveShell technology enables us to split Waves processors into smaller plug-ins, which we call
components. Having a choice of components for a particular processor gives you the flexibility to
choose a configuration suitable for your material.
The L3-16 has two component processors:
Stereo - A stereo channel processor.
Mono – A mono channel processor.

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Chapter 2 – Quickstart Guide
We recommend reading this manual to get the most out of the L3-16. However, for a quick start to
setting up the L3-16 on your audio, follow these steps:
1. Insert the L3-16 Multimaximizer into your project, preferably as the last processor on the master
buss with no subsequent gain adjustment.
2. Play your audio, selecting a section with a high RMS level.
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 Attenuation meter.
5. Once the Attenuation meter registers gain reduction, listen carefully and continue to drag
downward until you hear degradation, distortion, or a reduction in level.
6. At this point, stop, and drag upward until the output sound is free of such degradations.
7. Set the Out Ceiling control to -0.2dBfs.
8. Set the IDR Quantize factor to match your designated medium.
9. Process your audio.

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Chapter 3 – Controls and Interface
3.1 Global Limiter Section
This section consists of controls that globally affect all of the L3-16’s bands.
Threshold/Input Meter
- 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 that goes above the threshold is limited,
and gain is automatically made up by the same factor; i.e., if Threshold is set to -6dB, then automatic
makeup gain will accordingly be 6dB.

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The Threshold fader is located on the Input Meter, allowing easy adjustment with reference to input
energy. Note that the Input Meter displays the signal level after the Paragraphic EQ processing to allow
accurate Threshold setting. Below the Input Meter, you will find Waves standard peak indicators. Click
the peak indicator field to reset.
Out Ceiling/Output Meter
- Range -30dB to 0dB
- Default 0dB
The Out Ceiling fader sets maximum output level, scaling the output signal to reach the out ceiling
value but not exceed it.
The Out Ceiling fader is located on the Output Meter. Below the Output Meter are Waves standard
peak indicators. Click the peak indicator field to reset.
Threshold/Out Ceiling Link
The button lets you adjust the Threshold 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 Meter displays the overall (wideband) attenuation.
Release
- Range x0.1 to x10.0
- Default x1.0
The Release value is a multiplier for the L3-16’s internal release time constants, as set by the Release
Character. It proportionately shortens or lengthens each band’s release values; lower values result in
shorter release times; higher values result in longer release times.
Release Character
The Release Character menu contains factory settings for L3-16’s ARC(Auto Release Control)
engine, controlling limiter release behavior across the 16 bands. We strongly recommend that you
experiment with the different types, as they offer a wide variety of flavors that significantly affect the
sound.
Release Characters:
Default
Warm Analog
Warm Classical
Overall Punch
Drums Punch

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Vocal Priority 1
Vocal Priority 2
Bass Priority 1
Bass 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
L3 – Lean & Mean
L3 – Low Level Loudness
Separation
- Range Low, Medium, High
- Default Medium
The Separation menu sets the Q for the multiband network crossover filters, determining the amount of
overlap between bands.
3.2 Paragraphic EQ/Priority Display and Controls Section
This section consists of the main display and controls for the Paragraphic EQ and Priority curves.

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The interface consists of 6 Paragraphic bands with controls for Gain, Frequency, Q, and Priority. Gain
and Priority can be adjusted independently, or together, using the Link control. These Paragraphic
bands are superimposed over the 16 internal crossover bands. Each of the 6 Paragraphic bands can
be controlled by direct numerical entry into value windows, or by using the graphic display band
markers.
To use these controls effectively, you need some understanding of the L3-16’s internal logic. Like a
wideband limiter, the L3-16 applies attenuation only when the threshold is exceeded; unlike a wideband
limiter, it does not apply the same amount of attenuation over the whole spectrum. Rather, it applies
more attenuation to bands that contain signals with higher peaks. This creates less inter-modulation
distortion, and retains more detail from the input signal.
The L3-16 Paragraphic EQ is applied before the limiter. This means that raising a band’s Gain against
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 relation to other
bands), while lower Priority results in more limiting. Typically, Gain and Priority controls are adjusted
together using the Link control, so that the Priority creates the necessary headroom for Gain to take
place. However, it’s important to note that controlling the Gain and Priority separately can actually lead
to very interesting and widely diverse sonic results.
Main Display
The main display features 6 pairs of band markers for Priority (yellow), Gain/EQ (blue), and
DynamicLineattenuation (orange), with a slow decaying dip hold shade across the spectrum. Note
that the 0dB DynamicLineattenuation reference is the Gain/EQ curve, which displays the actual
attenuation at each frequency.
The band markers allow direct editing of the Priority and Gain/EQ curves. Each marker represents one
band of a traditional Paragraphic EQ, and can perform a range of functions for extensive parameter
adjustment straight from the display -
•Click-vertical drag changes gain or priority

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•Click-horizontal drag changes frequency
•Control-click (PC)/Command-click (Mac) and drag constrains movement 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 adjustment, and disables the
vertical axis while held
•Double click on any band marker to toggle in or out
•Drag on any de-activated band marker to activate it
•Shift-click to select multiple band markers for simultaneous control; shift-click again on any
marker you wish to de-select
Paragraphic EQ/Priority Controls
Note: Each Paragraphic band has controls for Gain, Freq, Q, and Priority. The Link control allows
simultaneous adjustment 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 less attenuation to the respective bands (in relation to other bands) while maintaining
the same overall limiting; lowering Priority results in more attenuation applied to the respective bands.
It’s important to remember that Priority settings are RELATIVE between bands. This means that if all
bands are set to the same non-zero priority, it has the same effect as setting all priorities to 0.
Gain
- Range -18dB to +18dB
- Default 0dB
Gain controls the gain of each Paragraphic EQ band. The linear phase Paragraphic EQ is placed in
front of the limiter. Increasing gain may cause the affected range to go harder into the limiter threshold,
subjecting it to more limiting. To boost the gain of a given range without over-limiting it, raise both
Priority and Gain.

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Gain/Priority Link
The button allows simultaneous control of Gain and Priority retaining a constant offset between
them.
Freq
- Range 16Hz to 20kHz
- Default 100, 200, 400, 800, 1600, 3200
The Freq control sets the frequency for each of the 6 Paragraphic bands.
Q
- Range 0.50 to 2.0
- Default 1.0
Adjusts Q for 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, 6th band – High Shelf
Selects the filter type for each of the 6 Paragraphic bands. The selected type is indicated by an icon
representing the filter curve.
In/Out
Click the control to switch a Paragraphic band in or out (on/off). When a band is on, its control will
illuminate with the corresponding color of the band marker.

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3.3 IDRSection
Quantize
- Range 24, 22, 20, 18, 16 bit
- Default 24
The Quantize control sets the target bit depth of the L3-16 output. Quantize is always active, so the
output of the L3-16 will be quantized to a maximum of 24-bits even if you are in a floating point
environment.
Dither
- Range Type 1, Type 2, None
- Default Type 1
Type 1 is “purist” dithering, designed for no modulation noise at low levels. IDRType 1 is optimized
for use at every processing stage, allowing for the effects of cascading and subsequent signal
processing. Type 1 is also optimized to generate minimal side effects when used with stereo signals.
Type 2 is designed to minimize the amount of added noise. It delivers 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 no Type2 dither added to the output
signal.
Shaping
- Range Normal, Moderate, Ultra, None
- Default Normal
The Shaping control selects the type of noise shaping filter that will be applied to the dither and/or
quantization noise. Noise shaping transfers the noise energy toward the higher, less audible range of
the frequency spectrum. Selecting None leaves the noise unfiltered.
IDR Active Indicator
Whenever Dither or Noise Shaping are engaged, the IDR status indicator will be colored red to indicate
activity in the IDR section. When both Type and Shaping are set to None, the IDR logo will turn gray to
indicate that IDR is disengaged. The output is still rounded according to the Quantize bit depth chosen.

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Chapter 4 – The WaveSystem
4.1 The WaveSystem Toolbar
All Waves processors feature the WaveSystem toolbar which takes care of most administrative
functions you will encounter while working with your Waves software. The features of the WaveSystem
toolbar are the same on practically all Waves processors, so familiarity with its features will be helpful
whichever processor you are using.
Toolbar Functions
Undo Undoes the last performed action. The L3-16 supports multiple undo levels.
Redo Redoes the last undone action
Setup A/B Toggles between two presets. This is useful for close comparison of different parameter
settings
Copy A->B Copies the current settings to the second preset register
Load Recalls 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 menu. Factory presets cannot be over-written or
deleted. When applicable, different component plug-ins may have different factory presets.
User Presets are your favorite settings of the plug-in saved as a preset in the Load menu, under ‘User
Presets’. User Presets can be over-written and deleted.
Setup Files may contain more than one preset. For example, a single file can contain all the presets for
a session. When you open a Setup File, all its setups become part of your Load pop-up menu for fast
access. This can be particularly useful with multiple instances of a plug-in in a single session. By saving
all the settings you create into a single Setup File, they can all be quickly available for every instance of
that plug-in.

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Loading Presets and Setups
Click-and-hold on the Load button to see the Load pop-up menu. The menu is divided into four
sections. If a section is not currently available it will not appear in the Load pop-up menu.
Open Preset File… Select to open any setup or preset file, whether from the Library or your own
creations.
‘Filename.xps’: Displays any currently loaded Setup File and its presets.
Factory Presets: Displays the default Factory Presets.
User Presets: Displays any loaded User Presets.
Saving Presets and Setups
Click-and-hold on the Save button to see the Save pop-up menu. Four options are available. If an
option is not currently available it will be grayed out and inaccessible.
Save to New File… Select this to start a new Setup file. There are two prompts - first
for the setup filename, then for the preset name. You must provide
a name for both the setup file and the preset. Click OK (ENTER)
to complete the save. It is a good 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) with the current settings. If a
Setup File is currently loaded, the name of the Setup File is
displayed followed by the name of the preset itself. If a User
Preset is loaded, its name is displayed.
Save to ‘File Name’ As… Saves the current settings as a new preset into the Setup file that
is open (if one is not open, the option is grayed out). You will be
prompted to give the preset a name.
Put into Preset Menu As… Save the current settings into a User Preset that will always be in
your Load menu (until deleted). You will be prompted to give this
preset a name. User Presets are stored in the plug-in’s preference
file.
Deleting Presets
You may delete User Presets and presets within a Setup File. Factory Presets and Setup Library files
cannot be deleted or overwritten.
1. Hold the Command (Mac)/Control (PC) key down.
2. Click-and-hold the Load button to see the pop-up menu.
3. While still holding the Command/Control key, select the preset or setup to delete.

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4. A confirmation box will appear, allowing you to cancel or ‘OK’ the deletion.
A/B Comparison and Copying
The Setup A/Setup B button may be clicked to compare two settings. If you load a preset in the Setup B
position, this will not affect the preset loaded into the Setup A position, and vice-versa.
If you want to slightly modify the settings in Setup A, you can copy them to Setup B by clicking on the
Copy to B button, then alter Setup A and compare with the original Setup B.
The name of the current setup will be shown in the title bar (on platforms which support it), and will
switch as you change from Setup A to Setup B.
Note: an asterisk will be added to the preset name when a change is made to the preset -
4.3 Interface Controls
Controls can be in one of three states:
•Not Selected where the control is not the target of any user entry
•Selected where the control is the target of mouse control entry only
•Selected and Active where the control 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 state. Some toggle buttons have a text display which updates with the
current setting, and others (bypass, solo, or monitoring toggles) illuminate when the control is active.
Some processors have link buttons between a pair of toggle buttons, allowing click-and-drag
adjustment while retaining the offset between the controls.
Value Window Buttons
Value windows display the value of a control and allow click-and-drag adjustment, or direct control
via the keyboard.
•Using the mouse, click-and-drag on the value window to adjust. Some value windows support
left/right, some up/down (as you hover over a button, arrows will appear to let you know which
direction of movement that button supports).
•Using the arrow keys, click once with mouse to select the button, and then use up/down –
left/right (depending on the direction supported by that button) to move in the smallest
incremental steps across the button’s range (holding down the arrow keys will move faster
through the range).

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•Using key entry, double click on the button to open the value window, and directly enter the
value from your keyboard. If you enter an out of range number, the button stays selected but
remains at the current setting (system beeps? If system sounds are on?)
Some processors have link buttons between a pair of value windows, allowing click-and-drag
adjustment while retaining the offset between the controls.
Faders
Click on the fader itself or anywhere within the fader track. The numerical value of the slider settings is
displayed in a window above the slider path. When pairs of faders are provided for stereo controls
(such as in the Q10) click-and-drag between the faders will adjust both faders together (maintaining any
offset between them if there is some)
Band Markers
Band markers appear on all Waves graphic displays, and have many functions:
•Click-vertical drag changes gain.
•Click-horizontal drag changes frequency.
•Click- diagonal drag will adjust gain and frequency together.
•Control-click (PC)/Command-click (Mac) and drag constrains movement 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 adjustment.
•Shift-click to select multiple band markers for simultaneous control, and shift-click again on
any marker you wish to de-select.
•Double click (PC) /Command-click (Mac) on any band marker to toggle in or out.
•Drag on any de-activated band marker to re-activate it.
•Option/Command-click (Mac only, not supported on PC) to change filter type.
Multiple Selection of Controls
One of the most powerful features of the WaveSystem is the ability to select and adjust many controls
at the same time. Using the mouse, simply drag-select the desired group of button or graphic controls
by clicking and holding at a point outside the controls and forming a rectangle to include the controls
you wish to adjust. Alternatively, you can hold down Shift while clicking the mouse on any control you
wish to link. This second method is useful when you want to select two (or more) controls that are
separated on the GUI by other controls you do not wish to select.
TAB Functions
TAB moves the ‘selected’ status to the next control, with shift-TAB moving in the reverse direction.

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Additionally, 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 the selected
controls only.