[bob katz]

Originally Posted by kurtr2

there is something that the L2 does that changes the relationships of the elements in the mix. i like it. if i think of the L2 as a loudness maximizer then i feel like my thinking is incorrect, if i think of it as a dynamics tool for the mix, then i wonder if theres anything wrong with thinking of it that way. but i like the way it helps the mix itself, regardless of percieved volume.

\kurt

Well, if you are thinking of it as a dynamics tool for the mix, then no one can fault you for using it. But it's a very fine line you have there. I'm betting that 9 out of 10 mixing and mastering engineers would feel that the extremely high compression ratio of the L2 is just not a very suitable "mix bus compressor". The first thing that the very-fast-attack L2 starts to deal with are transients, and if so, then you probably will find that a subtle compressor (or limiter) on the snare drum or whatever transient will accomplish the effect you are looking for in a less damaging manner. Also, consider that 3 dB of L2 on the mix is a LOT, for anyone, working, anywhere.... Are you sure you are not "volume maximizing" instead of doing it for the esthetics? To prove this objectively, turn the ceiling down on the L2 to the same level as your threshold so that you can compare at unity gain, turn up your monitor gain to compensate, and then switch the bypass switch in and out and in and out and in and out on the L2 until you are convinced that it sounds better one way or the other!