MaxxBass® Bass Enhancement
Waves' patented algorithm adds stunning bass sound without adding bass frequencies, delivering a bigger bottom end. MaxxBass® allows your audience to hear bass frequencies lower than physically present by applying psychoacoustic principles: Even though we can hear a bass guitar from a small speaker, we don't actually hear the fundamental frequency because the speaker can't produce a pitch that low. Instead, we hear the harmonics which the speaker can produce, and this causes the brain to create the "missing fundamental." MaxxBass® takes this well-known psychoacoustic phenomenon to the maximum, giving you the ability to extend the perceived frequency response of a system about two octaves below its physical limitation.
To accomplish this, the signal is split: high frequencies are passed to the output (to be added back to the bass). The bass signal is analyzed and a specific series of upper harmonics are created. Because the dynamics of the original bass are duplicated in these harmonics, the result is the most natural sounding bass enhancement available. The MaxxBass® harmonics and the original bass can be mixed in any proportion at the output.
To provide more control, a high-pass filter can be switched in, allowing the harmonics only to be passed along as an "image" of the original bass frequencies, which is useful when working with a system with known low frequency limitations to avoid over excursion of the speaker drivers.
Designed to provide the classic warm sound of analog compressors, the legendary Renaissance Compressor controls dynamics with studio-style warmth that flatters full mixes, vocals or instruments. Controls include selection of vintage-style Opto or modern Electro compression, threshold, ratio, and attack controls. Waves ARC™ (Automatic Release Control) algorithm dynamically optimizes the compressor's release value for a wide-ranging input. ARC™ reacts much the way a human ear expects, and can produce increased RMS level with greater clarity.
In general, the release is faster for peak transients and slower for the overall RMS level. The ARC™ system varies the release time to fit the ear's expectations while increasing RMS, and without creating distracting artifacts. In this way, the Renaissance Compressor can serve as a leveler plus a fast compressor simultaneously.
L2 Ultramaximizer Peak Limiter
Heard on countless hit records and soundtracks, the L2 Ultramaximizer puts sound up-front with breathtaking transparency. The L2 is capable of a very fast, overshoot-free response. Once the limiter threshold has been set, you can define the actual peak level that the processed signal will reach. Once set, limiting and level re-scaling becomes a one-shot process. The L2 can significantly increase the average signal level without introducing any audible side effects. Yet there is plenty of range to recreate 'vintage' effects such as level pumping or severely limited dynamic range if you like.
Pristine Sound Quality
The MaxxBCL offers 96kHz, 24-bit resolution with a 48-bit, double precision internal processing path and a dynamic range of ~125dB. The totally passive analog input path to the ADC uses Jensen transformers, while the output path also features Jensen analog output transformers. The unit is galvanic-isolated, which prevents ground loops and allows it to operate in electrically unstable environments
- Maximum Analog Input Gain: 24 dBu
Input Impedance, Balanced Input: 32 kOhm @ 1kHz
- Frequency response: 10Hz - 24 kHz / -0.1dB @ 10Hz ÷ 0.01@24k
- THD + Noise: ? 0.0006 % @ 1kHz @ -1dBFS
- THD 3rd Harmonic: -126 dBFS @1kHz, -10dBFS
Analog output stage:
- Frequency response: 20Hz-21kHz / - 0.4dB@20Hz ÷ 0.05dB@21kHz
- Noise: ? -108 dB (unweighted)
- THD+Noise: ? 0.003% @1kHz, -1dBFS
- Maximum Output: +24dBu
- Output Impedance: 600 ohms ?@ 1kHz
- Crosstalk: ? -102 dB (1kHz, 0 dBFS )
- THD+N: ? 0.003% @ 1kHz un-weighted
- Frequency response: -0.4 dB@20Hz ÷ 0.05 @ 21kHz
Latency (in samples):
- Maximum Output: +24dBu
- Output Impedance 600 ?
- Digital to Digital: 133 @44.1, 48K sampling rates, 261 @88.2, 96K sampling rates
- Analog to Digital: 176 @44.1, 48K sampling rates, 301 @88.2, 96K sampling rates
- Digital to Analog: 182 @44.1, 48K sampling rates, 313 @88.2, 96K sampling rates
- Analog to Analog: 225 @44.1, 48K sampling rates, 353 @88.2, 96K sampling rates
Additional Detailed Information:Get louder, smoother audio with astonishing lows—even for listeners with the smallest of speaker systems
- Clear backlit displays, meters and buttons are visible in all lighting conditions
THD + Noise: ? 0.0006 % @ 1kHz @ -1dBFS
- Precision Metering with resettable peak hold options
(2 sec, infinite)
- Accurate, wide range metering covering 90dB for input and output and 12dB for compressor and limiter attenuation
- Quick access independent bypass on each processing block
Tactile feedback knobs
- 4 easy store/recall user presets
Input / Output
- Analog, AES/EBU, SPDIF
- Independent rear panel input and output headroom calibration in 6 steps (+9, 12, 15, 18, 20 and 24 dBu)
- Passive analog inputs to the A to D converters using
- Jensen analog input transformers
- Jensen analog output transformers
- High performance IDR dithering to 16 or 24 bit output
- Precise input level setting using 1% resistor networks.
- 48 bit end-to-end internal processing path
- Switchable compressor/MaxxBass® order
- Adjustable processor frequency from 25Hz to 120Hz
- Adjustable harmonic mix percentage from 0 to 100%
- High Pass Filter "harmonics only" option
- Opto/Electro mode selection
- Threshold (0-60dB), Ratio (1:1-12:1) and
Attack (0.5, 1, 2, 5, 10, 20, and 50 ms) controls
- Proprietary ARC™ Automatic Release Control
- Automatic gain makeup.
- Overshoot-free Look-ahead processing
- Adjustable Threshold (0-18dB)
- Adjustable Output Ceiling (0-18dBFS)
In today's broadcasting world, the use of perceptual codecs in automation, storage and transmission formats and the transcoding required to convert between formats demands the highest quality audio at every stage. In addition, there is an on-going competition for the loudest, best-sounding broadcast signal possible—and one that delivers the bass kick that defines much of today's popular music. A Paradigm Shift for Broadcasters
Traditionally, bass is boosted with equalization, but this can cause problems in the broadcast chain (over-modulation) and in listeners' systems (distortion and over excursion). Moreover, boosting bass with EQ means sacrificing overall loudness, because more headroom must be allowed for stronger bass peaks. In addition, boosting bass EQ does nothing for listeners using earbuds, headphones, boomboxes, computer speakers, or even small car systems that are incapable of producing low frequencies. With MaxxBass®, these problems are solved. Because MaxxBass® enhancement is a harmonic image made up of higher frequencies, the broadcast chain is protected from over-modulation, additional headroom isn't needed, and listeners hear more bass no matter what the capabilities of their systems. MaxxBass® alone can be the secret weapon that results in listeners hearing your station as both louder and with fuller bass. Add MaxxBCL's other processors, and you have a tool that is an all-around enhancer to your signature sound.
For Live Music "In Studio"
The MaxxBCL Limiter section provides the necessary overshoot-free, brick-wall limiting for unpredictable live music situations. In addition, the compressor section, used conservatively, will give an eveness to the mix which can be matched more seamlessly with the announcer's voice.
For Live Music Feeds Over ISDN
Whether you use analog or digital inputs to your codec, the inputs will be protected by the brick-wall limiting and the compressor will provide a "well mannered" signal to the codec, resulting in a higher quality feed.
For Loading Music Into Automation Systems
This use of MaxxBCL provides a superior way to smooth out the differences in recorded material to give a more even and fuller sound to the music archive.
For Live News Reports
The Compressor will provide an even sound to varying levels coming from the field.
In Broadcast Production
MaxxBCL can be connected in various ways in the production room. It can be connected between a DAT or MiniDisk deck and the production console to help smooth out uneven man-in-the-street or news reporter recordings that will be mixed with a studio mic. Or it can be used at the output of the production console to add punch to any spot or bumper.
Increase Overall Station Signal Loudness and Bass Performance
Here the amount of bass enhancement, compression and limiting is completely up to the engineer and how extreme the signal needs to sound. The combination of MaxxBass® and the dynamics processing of the Renaissance Compressor and L2 Ultramaximizer will produce the loudest signal with the best sounding bass when compared directly with any other signal.
In live sound reinforcement, where resources are always at a premium, the MaxxBCL lets you get much more level and bass from your present system.Studio-Style Slam
The super-compressed sound of today's hits means it's more important than ever for you to produce a dense, "in-your-face" live experience. With the MaxxBCL's Renaissance Compressor and L2 Ultramaximizer sections, you have the same tools used on countless chart-toppers. Achieving that studio sound is simply a matter of dialing it in. The L2 Ultramaximizer also offers a Link Mode that links the limiter and maximizer together, allowing you to change the limiter's threshold without changing output level. A Lower Low End
Attempting to achieve the massive bass thump that is so prevalent in modern music can put a tremendous strain on power amps and speakers. But because MaxxBass® actually reduces low-frequency content while increasing bass sound, you get improved amplifier efficiency, protection against blown speakers, and a bigger low end—all at the same time. You also get better low-frequency feedback and rumble control, improved lows from thin-sounding mics, and a rounder bass from harsh systems.
Built for Intuitive Live Use
The MaxxBCL's front panel controls were designed to make them easy to use in tough conditions. The backlit displays, meters and buttons let you see what's going on under any lighting, while the tactile-feel knobs give you that all-important sensory feedback to your fingertips. Bypassing any of the three processors requires just a quick punch to any of the dedicated bypass buttons. Precision metering with resettable peak hold options (90dB range for I/O, 12dB range for compressor and limiter attenuation) offer reliable readings. The peak holds for all meters can operate as momentary (2 seconds) or infinite, and are reset by pressing the Peak button quickly. For all processors, the top knob controls the parameter most likely to need riding during a live set: Intensity for MaxxBass®, Ratio for Renaissance Compressor, and Out Ceiling for the L2 limiter.
Stands Up to Punishment
With its reinforced construction, sturdy rack mounts, and handles that protect connectors and controls, the MaxxBCL is built to stand the rigors of intensive touring.
Waves' famed L2 Limiter, Renaissance Compressor, MaxxBass® , and premium A/D & D/A converters now in one
The Waves hardware L2 Ultramaximizer unit became a standard piece of gear in the best mastering and post facilities because of its ability to significantly increase signal level without introducing audible artifacts. In addition, the L2's converters' performance was equal to the best dedicated converters on the market. Now the MaxxBCL goes further, adding the Renaissance Compressor, MaxxBass®, and new converters that offer even better performance.
High Resolution & High Definition
MaxxBCL offers high definition 96kHz sample rate, 24-bit AD/DA conversion coupled with full 48-bit internal signal processing path. The totally passive analog input path uses Jensen transformers that are featured in the output path as well. The AD/DA converters allow extremely high quality conversion, surpassing even the legendary L2 Ultramaximizer.
The Renaissance Compressor used in MaxxBCL is a classic warm compressor and expander. Designed for flexibility and musicality, it combines technologies from the C1-Compressor/Gate and the famed L1 Ultramaximizer with Waves groundbreaking ARC™ (Auto Release Control) technology. In ARC™, similar to the human ear, RMS and peak transients are analyzed and reacted to differently. In general, the release is faster for peak transients and slower for the overall RMS level. The Renaissance Compressor is also capable of low-level compression/expansion. .
Transparent and Vintage Compression Styles
The Renaissance Compressor features two compression behaviors: Electro, which offers great transparency, and Opto, which delivers the vintage sound of classic optical compressors. The Electro mode has a release time behavior that is increasingly faster as the gain reduction approaches zero, but only when gain reduction is less than 3dB. When gain reduction is above 3dB, the release time becomes slower, behaving more like a leveler in high gain reduction situations. The Opto mode "puts on the brakes" as the gain reduction approaches 0dB, i.e., the release time gets slower as the "needle comes back to zero." As in Electro, this is true only when the gain reduction is less than 3dB; when greater than 3dB, the release time is faster.
Better Bass for Any System
A significant goal of mastering and post production is to create audio that translates well to consumer systems of varying size and and capability—and the most the most difficult part of the spectrum to control in this regard is, of course, bass. While equalization is essential, what MaxxBass® can do goes beyond any form of equalization because it can create a "second level" of bass sound specifically aimed at small systems. Used in this way, the original content of the low frequency spectrum is retained, while MaxxBass® is dialed in to generate harmonics that actually allow listeners to really hear the lower notes even on small systems. In addition, MaxxBass® is ideal for adding deep and warm low end to archived music that lacks the powerful bass expected today.
Highest Quality Requantization
The MaxxBCL also includes IDR™ (Increased Digital Resolution) featuring ninth-order noise shaping and IDR™ Type 1 dithering allowing pristine resolution at the crucial point of re-quantization.
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