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L2 Ultramaximizer by Waves is a Virtual Effect Audio Plugin. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX.

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Waves has never followed the pack. The typical route of developing plug-ins that are straight copies of vintage hardware units just isn't this company's style. So, instead, the company has designed a product that resulted from software that was developed into hardware, and then turned back into software again. The L2 plug-in fulfills a niche market; it's for Pro Tools TDM-based mastering and recording engineers who want the sound of the L2 without the inconvenience of installing a new piece of outboard gear.

L1, MEET L2 The differences between the L1 and L2 plug-ins are subtle but important. The two plug-ins look strikingly similar at first glance, though the L1 is light gray and the L2 has a dark gray face. The L1 comes in a wide variety of plug-in formats, from the most popular native ones to TDM. The L2 is only available in the TDM format. The L1 has some controls that are missing from the L2. The L2 doesn't have integrated stereo input level faders.

However, lacking this control is not a big deal if you're using the L2 by itself, because you can use the fader on the channel where the L2 is inserted for an attenuation. But when the L2 falls after several other inserts (such as post-EQ and a de-esser), the lack of attenuation control on the plug-in itself can be a pain. Changing the channel's fader level in such a situation affects not only how you are hitting the L2, but all the other effects, as well.

The L1 features a Domain key, which gives you added control over peaks. There are two settings: Digital doesn't allow any samples over the Out Ceiling value, and Analog gives you total control over any peak that occurs in both the analog and digital domains. I've never made good use of this parameter on the L1, and so I didn't miss it in the L2. Easydis base v44 v10. If this is an L1 function you count on, be forewarned that it's been omitted from the L2. The L1 has a slightly wider range of Quantize bit depths — 24, 20, 16, 12 and 8 — vs. The L2's 24, 20, 18 and 16. And the L1 has a couple more presets than the L2, though this is not a problem because the L2's presets all sound fine (see sidebar for list).

In fact, the L2's presets are reminiscent of the L1's presets, and even the Track Slammer patch (which is part of the L1's presets) is among the L2's presets. The L2 is stereo only, because it is a mastering tool. MAKING ITS ARC L2 especially differs from the L1 because it packs Waves' excellent Auto Release Control (ARC). This feature was originally found on the Waves Renaissance Compressor, and later was added to the L2 hardware unit. The ARC feature is really what sets the L2 apart: It increases the overall clarity of the plug-in's processed signal by dynamically controlling release times.

This algorithm is far superior to setting the Release parameter manually, at a static value, because the ARC is continually selecting the optimum release value for the incoming material. Turn ARC off and there is no perceptible difference between the sound of the L2 and the L1. Turn ARC on, and the magic happens (the ARC-enable key lies just beneath the Release control and disables the manual release fader): The algorithm treats the source material with kid gloves, creating a more open, translucent and clear sound without sacrificing loudness and presence. The effect is subtle to be sure, but it is a definite improvement over the L1. It's the kind of difference that is most apparent with the delicate nuances and wide dynamic ranges of a classical piece, rather than with the pounding beat of electronic dance music.