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Waves LinMB software guide page 25 of 28
Deeper
Not a “flat” preset, by any means, this has deeper Ranges on the high end,
which means the signal will be bassier as it gets louder, and more
compressed in the high end as it gets louder. Attack and release times are
faster, so the compressor grabs more.
Low-level Enhancer
A classic loudness enhancer as described in Chapter 4 in the Low-Level
Compression section. As the sound gets louder, it approaches “flat
compression”, but all low-level sounds will have the bass and treble boosted,
as seen by the upper edge of the purple Range band.
This is not a particularly subtle preset. To reduce the boost, simply lower the
Gain of Bands 1 and 4 (they are preset to 4.9, which is 3dB above the middle
two bands). Try only 1dB (set them both to 2.9) and then you have a very nice
subtle low-level enhancement setup.
Upward Comp +3dB
A gentle upward compressor with flat response. It lifts the low-level sounds by
3dB at the average Threshold of -35dB.
Lower the Master Threshold for more subtlety, raise it for more pronounced
effect. Note the crossover settings are different from the +5 setup. Band 1 is
set to 65Hz for the very low bass; Band 2 is the next octave and primarily
deals with the fundamental of the bass guitar and meat of the kick; Band 3 is
very broad, from 130Hz to 12kHz; doing most of the work; and Band 4 is the
air compressor. These points give greater control over the bass (dividing it
into 2 bands), but have no “ess-band” range. If upward compression provides
too much of a boost in the highs (a common result due to the lower overall
energy of HF), then simply lower the Threshold in the high band.
Upward Comp +5dB
Similar to the previous setup, but with different crossover points, for different
flexibilities. This one is more similar to the Basic Multi, with crossovers at 75,
5576, and 12249, so that you have bands for Low Bass, Low-Mid,High-Mid,
“Ess” or presence band, and the Air. These points give greater control over
the high end (2 bands). This is a more aggressive setting, the main difference
being the crossover points, which changes the Thresholds significantly from
the +3 setup. Easily made more or less aggressive by changing the Master
Gain setting. If upward compression provides too much of a boost in the highs
(a common result due to the lower overall energy of HF), then simply lower
the Threshold in the high bands.
Multi Opto Mastering
Now we are going into areas that haven’t actually existed yet, other then in
C4. A multiband opto-coupled device!
This is a rather transparent setting for mastering and pre-mastering. Even
though ours is virtual, the gentle release times that become ever slower as
they come back to zero gain reduction really have the sound and behavior of
opto’s, just as the Renaissance Compressor does. The longish attack and
release times of this setup let the processor gently increase lower levels while