Audio Plugin for Podcast Post and Streaming

An obscure and rarely mentioned audio plugin by Waves exists that is well suited for Spoken Word processing, Live Streaming, and Podcast Post Production – MaxxVolume.

Back in 2012 I documented my initial interest and subsequent purchase of MaxxVolume. I paid $149 for the plugin, on sale at the time over at DontCrack. I believe the original selling price was $400. It’s currently available for $49.

MaxxVolume is a multi-stage dynamics processor. The plugin features High/Low Level Compressor modules, a Downward Expander, a Leveler stage (aka RMS compressor/AGC), a user selectable Loud/Soft ARC flag, and a global Output Gain control.

Let’s explore the attributes of MaxxVolume …

Leveler

The Leveler fader value defines the AGC threshold and target. The inherent processing uses long attack and release times similar in attributes to an RMS compressor to effectively maintain consistent levels over time. Basically, automatic gain-riding initializes when the passing signal level exceeds the threshold and correlated target.

The Energy Meter’s internal chain placement is located after the Leveler processing and before the plugin’s remaining dynamics modules.

Gate

The included Gate is essentially a Downward Expander. When the passing signal level drops below the defined Threshold fader setting – attenuation is initialized. Note the general difference between a Gate and Downward Expander: a Gate applies a sort of hard mute. A Downward Expander applies a much more gradual transition between audibility and attenuation.

High Level Compressor

A traditional compressor applies gain reduction (dynamic range compression) when signal levels exceeds a defined threshold. In general the operator may (1) elect to work with the compressed/attenuated audio, or (2) apply makeup gain to compensate for the resulting attenuation.

The MaxxVolume High Level Compressor is controlled by a single Threshold fader. Gain reduction is indicated on the associated meter when the signal level exceeds the defined threshold. Automatic makeup gain is applied to compensate for active gain attenuation.

The Gain fader located in this module controls the maximum output signal level. This setting is NOT a ceiling based compliance limiter!

Low Level Compressor

This module basically applies upward soft-knee compression. It allows the operator to add a specific amount of gain to the passing audio when it’s level drops below the user defined threshold. The associated Gain Meter indicates the amount of makeup gain.

Note: The High and Low Level Compressor threshold settings are displayed within the previously mentioned Energy Meter.

The Soft/Loud Flag

This flag sets the attributes for the Waves proprietary ARC (Auto Release Control).

ARC, as described by Waves:

“The ARC algorithm is designed to dynamically choose the optimum release value for a wide-ranging input. ARC reacts much like a human ear, and can produce significantly increased RMS (average) levels with excellent audio clarity.”

In essence – the Loud setting uses shorter Release times resulting in elevated loudness. Conversely the Soft setting uses longer Release times resulting in a softer output.

Output Meter

This meter indicates Peak Amplitude and potential inherent clipping.

Setting it Up

(1) Disable the Downward Expander (you will use it eventually). By the way – all Threshold faders support deactivation. Simply click the encapsulated yellow indicator located on each fader.

(2) Set the ARC flag to Soft and define a Leveler threshold.

(3) Adjust the High Level Compressor to (1) compress dynamics, and (2) compensate for the attenuated signal level.

(4) Apply 5 or 6dB of Low Level Compressor module gain. Tweak the module Threshold and readjust gain accordingly. Be cautious when applying excessive gain at levels above the defined threshold. Pay close attention to the noise floor.

(5) Lastly, adjust the High Level Compressor Gain to optimize the output.

If you are running Adobe Audition – use the Preview Editor to reflect the results of your settings relative to the source. The updated waveform will indicate the results of the applied settings. Observe the processed dynamics and evaluate the audible consistency of the average loudness over time.

Of course visual attributes of any waveform are meaningless if the sound quality is compromised. Use those ears to achieve optimum results.

Notes

It’s important to establish a clear understanding of each processing module and the interactive processing results.

If necessary – apply Broadband Noise Reduction and/or Phase Rotation before MaxxVolume in your signal processing chain.

Remember – the High Level Compressor Gain does not establish a hard limited compliance ceiling! You will need to Insert a post compliance limiter. I recommend the following limiters: ISL by Nugen Audio and Elixir by Flux. TrackLimit by DMG Audio is also a worthy consideration.

Specialized Use Cases for MaxxVolume

• Intelligibility optimization

• Pre-Loudness Normalization dynamics processing

• Live Streaming

• Live Venue processing

Personal Perspective

– -> On multiple occasions I’ve expressed how it can be difficult working with non-scalable audio plugins on high-resolution monitors. I am a proponent of defining specific numerical setting values on supported plugins in order to fine tune parameters. Legacy UI designs offered by various developers generally exhibit fuzzy text and difficult to read values. These difficulties are prevalent when running monitor resolutions higher than 1920×1080 (I run a 4k compatible monitor at 2560×1440). In essence, viewing MaxxVolume’s fader values and additional indicators can be visually challenging.

– -> Be careful when using the Low Level Compressor. Excessive gain will elevate breaths and boost the audible noise floor.

– -> An integrated compliance limiter would be useful. As it stands, the insertion of a down-stream limiter is vital.

-paul.

Waves WLM Plus Loudness Meter …

Waves has just released a stellar update to their critically acclaimed WLM Loudness Meter. The new WLM Plus version, available for free to those who are eligible – includes a few new and very useful features.

The plugin now acts as both a Loudness Meter and a Loudness Processor. New controls (Gain/Trim) are located in the Processing Panel and are designed to apply loudness normalization and correction. There is also a new switchable True Peak Limiter that adheres to the True Peak parameter defined in the selected running preset.

Here’s how it works:

Notice below I am running WLM Plus using my own custom preset (figg -16 LUFS). Besides the obvious Integrated Loudness target (-16 LUFS), I’ve defined -1.0 dBTP as my True Peak ceiling.

wlm-blog

What you need to do is insert the plugin at the end of your chain. Turn on the True Peak Limiter. Now play through the entire segment that you wish to measure and correct. During playback the textField value located on the WLM Plus Trim button will update in realtime, displaying the proper amount of gain compensation that is necessary to meet the Integrated Loudness target (it’s +2.1 dB in this example).

When measurement is complete, simply press the Trim button. This will set the Gain slider to the proper value for accurate compensation. Finish up by bouncing the segment through WLM Plus, much the same as any processing plugin. The processed audio will now match the Integrated Loudness Preset target and True Peaks will be limited accordingly.

I haven’t tested this in Pro Tools but my guess is this also works when using WLM Plus as an Audio Suite process on individual clips.

Of course you can make a manual adjustment to the Gain slider as well. In this case you would use the displayed Trim Value to properly set the necessary amount of gain compensation.

Great update to this well designed Loudness Meter.

-paul.

Waves MaxxVolume Revisited …

Back in October of 2012 I wrote about my purchase and initial impression of MaxxVolume by Waves. Let me first say I’m so glad I bought this tool. Secondly, my timing was impeccable. I was under the impression (when I purchased it) that the price of this plugin was significantly reduced on a permanent basis from $400 to $149 for the “Native” single version. Not the case. It is currently selling for $350 and discounted to $320. Like I said – my timing was impeccable.

waves-mv-478

Anyway, I’ve spent many hours working with this tool. Before I discuss one instance of my workflow, let me also mention that I recently purchased a license for their Renaissance Vox Dynamics Processor. This is yet another stellar tool by Waves. It features three slider “faders”: Gate, Compressor, and Gain. The Gate (Downward Expander) is very impressive. It works well when it may be necessary to tame an elevated noise floor in something like a voice over. The Compression algorithm is what really makes this plugin shine. As expected this setting controls the amount of Dynamic Range Compression applied to the source. At the same time it applies automatic makeup gain. What’s special is as the output gain potentially increases, the plugin will automatically prevent clipping by applying peak limiting. It’s all handled by a single slider setting. It turns out the High Level Compressor included in MaxxVolume is similar to the Compression stage in Renaissance Vox …

I’ve settled in on an order in which I set up MaxxVolume to act as a leveler when processing spoken word. I load the plugin with all controls in the OFF state. First I turn on the Low Level Compressor. This is essentially an Upward Expander that increases the level of softer passages. It doesn’t take much of an increase in gain to achieve acceptable results. At this point I rely solely on my ears for the desired effect.

Next I turn on the Gate (Downward Expander) and listen for any problems with the noise floor that may have resulted from the gain I picked up with the Low Level Compressor. Since I pass all my files through iZotope RX2 before introducing them to MaxxVolume – they are pretty quiet. In most cases the Gate’s Threshold is set somewhere between -60 and -70 dB. By the way the processor is set to the LOUD mode. This setting uses a more aggressive release resulting in a slightly “louder” output signal.

Now that I’ve dealt with low level signals and any potential noise floor issues – I set the Global Gain to -1.0dB. If I am dealing with a previously (loudness) normalized file with a set average target, I almost never deviate from this -1.0dB setting.

The last stage of the processor setup affects the aggression of the Leveler and handles Dynamic Range Compression. As previously stated – the High Level Compressor also applies automatic makeup gain as it’s Threshold is decreased. What’s interesting is it also applies gain compensation to the signal where aggressive leveling may result in heavy attenuation. Here once again if I am dealing with a segment with a set average loudness target, I need to maintain it. So I turn on the Leveler and set it’s Threshold to apply the desired amount of leveling. When the audio passes (goes above) the threshold, leveling is active. The main Energy Meter displays the audio level after the leveler and before any additional dynamics processing functions.

I finish up by turning on the High Level Compressor, setting it’s Threshold to apply the necessary amount of gain compensation to maintain my average (Program/Integrated) Loudness target. I use Nugen’s VisLM Loudness Meter to monitor loudness. Finally I fine tune the Low Level Compressor and Gate.

logic-480

This particular workflow is just one example of how I use MaxxVolume. The processor does an excellent job when setup to function as a speech volume leveler. In other instances I use it to attenuate playback of audio segments, programs, etc. that have been normalized to a much higher average loudness target than I see fit. With the proper settings MaxxVolume provides a highly customized method of gain attenuation that sounds so much better than just reducing output levels with channel faders in a DAW.

MaxxVolume is now an indispensable tool in my audio processing kit …

-paul.

Waves and MaxxVolume

The latest addition to my audio processing toolset is MaxxVolume by Waves. This dynamics processor has been on my radar for the past few years. I was always under the impression that Waves plugins required an iLok account/key. It was for this reason I never bothered to pull down the demo and test it.

A few days ago I noticed that a few online plugin resellers were advertising a price drop for MaxxVolume. I believe the original price was $300. Sweetwater and DontCrack are currently selling it for $149. I decided to purchase a license. By the way prior to doing so – I realized Waves has moved away from the iLok requirement. They now provide a standalone “Waves License Center” (WLC) application that can be used to manage both purchased and demo licenses. Licenses can be transferred to a host machine and/or a standard (FAT32 formatted) USB Flash Drive. You can then move and manage licenses via the Flash Drive or within their proprietary License Cloud.

After making a purchase you simply register the new product on the Waves site, run WLC, login to your Waves account – and move your license(s) from the cloud to your target destination. I must say the process was easy and seamless.

So what is MaxxVolume? The plugin is a four module dynamics processor: Low Level Compressor, Gate, Leveler, and High Level Compressor. All four processing stages run in parallel.

The Low Level Compressor is essentially an expander. So any signal that falls below the set threshold gets compressed upward. It’s controlled by a Threshold fader and Gain fader. The Gate feature is controlled by a single Threshold fader that applies gentile downward expansion affecting any signal that drops below the threshold setting. The Leveler is essentially an AGC (Automatic Gain Control) controlled by a single Threshold fader. Lastly the High Level Compressor is controlled by a Threshold fader and a Gain fader. This compressor functions just like any standard compressor – when the input signal exceeds the threshold it is attenuated. The Gain setting compensates for the attenuated signal.

Waves notes “It’s a Broadcast tool, bringing any program to a fixed destination level; ideal for radio and TV, podcasting, internet streaming, and more.” It took me some time to get a feel for how the four processing stages interact. So far I like what I’m hearing. The AGC is pretty impressive. I’m using Adobe Audition CS6 as my host. The processor works fine in the Adobe environment.

I will say this tool is not your sort of cut and dry loudness maximizer. It may not be suitable for less advanced or novice users. In my view a clear understanding of upward/downward expansion, AGC, and compression is a necessity.

-paul.