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L3-LL Multimaximizer: MultiBand Limiting, Level Maximation, And More

Dave Wooster

Suitable for FOH Mastering as well as In-Ear Monitoring, the L3-LL is a strong but subtle multiband limiter, with a 5-band dynamics crossover that delivers smooth highs and powerful lows.

"The L3-LL offers control and dynamic contouring to put the final icing on the cake—a true Waves in-the-box solution." Dave Wooster
FOH Engineer
Leona Lewis, Gary Moore
www.koolworld.co.uk

Direct from the Desk

L3-LL

The ultimate output limiter, the L3-LL lets you master your mix using multiple precision-control parameters.

It’s divided into two main sections:

  • Master Peak Limiter The L3-LL’s Master Peak Limiter is controlled by traditional Threshold and Out Ceiling parameters, as well as 5 types of Release behaviors. While similar to the L2 limiter, it’s more musical, with more character.
  • Crossover Controls The L3-LL features a 5-band crossover with per band Gain, limiting Priority, and Release controls.

- Gain is used to boost or cut frequency bands in your mix, like a dynamic EQ.
- Priority control establishes the amount of each band’s limiting in relation to the other bands.
- Separation is similar to a filter cutoff slope or Q, controlling the amount of overlap between bands. At low Separation settings, crossover slopes between bands are moderate, creating more overlap between bands. At higher Separation settings, the crossover slopes are steeper, resulting in less overlap between bands.

Using the Priority and Separation controls, you can decide whether the L3-LL acts as 5 individual independent band limiters, or as a single limiter with 5 bands that interact.

L3-LL is Available in L3 Multimaximizer, Diamond, Mercury

L3-LL is Available in L3 Multimaximizer, Diamond, Mercury

Production Notes

For PA Mastering

  • Once your PA system is all tuned up and your mix is good-to-go:
  • Insert the L3-LL last in the chain of your main output channels.
  • Find the frequencies that are too dominant or too weak in your mix, and cut or boost them accordingly
  • Set the Priority of each band to the amount of limiting that you need. Keep in mind that the Priority control is relative, and its effect on your sound will be more audible as you adjust the Priority of adjacent bands.
  • Finally, set the master limiter Threshold to tighten up your mix image, and set the Out Ceiling to protect your amps from overload.

In-Ear Mastering

After your In-Ear Monitoring mix is set:

  • Insert the L3-LL last in the chain of your In-Ear Monitoring channels. For PA mastering, you set the multibands first, then the Master section; for In-Ear Monitoring, start with the Master section.
  • Set the master Threshold and Out Ceiling controls to bring the sound image closer, while setting the Out Ceiling to provide protection from overshoots that may harm the musicians’ ears.
  • Use the Crossover points to limit and clarify dominant frequencies around the low mid range, since low mids traditionally lack definition and may cause pitch disorientation, especially for singers using IEM.
  • Raise the Gain in the high frequency range (around 8kHz) for bright, clear sound.

The result is In-Ear Monitoring that not only sounds great, it brings out the very best in your performers.