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Maximal 2
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Maximal 2
Loudness Maximizer by Venomode
Mac OS XMac 64-BitWindowsWindows x64 VST VST3 Audio Unit
Maximal
What is it?
Format(s)
Effect(s)   
Operating System Availability
Operating
System
Latest
Version
Download
 2.1.2  Download
System Requirements
Windows Vista/7/8/10
32/64-bit VST Compatible DAW
2GB RAM
Dual Core Processor
1024x768 Screen Resolution
 2.1.2  Download
System Requirements
OS X 10.7+
32/64-bit VST/AU Compatible DAW
2GB RAM
Dual Core Processor
1024x768 Screen Resolution
License & Installation Method
Voucher / Code for redemption on other website
What does this mean?
For related news items, downloads and more please see the full KVR product page for
Maximal 2

Maximal 2 is a loudness maximiser, featuring an advanced lookahead peak limiter and analogue modelled saturation. The multi-stage limiter section features next-level lookahead, automatic makeup gain, and adaptive and responsive release. This plugin will smoothly limit any peaks in the audio, and automatically increase the overall level. The analogue modelled tape and tube saturation modes encompass all the best parts of the analogue world, without all the bad parts - such as high-frequency roll-off, hiss, wow and flutter.

Using our adaptive release technology, you can simply tell Maximal 2 whether you want the limiter to be fast and loud, or slow and transparent, and it will do what's needed inside. You can use Maximal 2 to catch rampant peaks in an audio recording, or you can use it to make your track phat and loud - it's up to you how you push it.

Maximal features 4 operating modes:

  • Clean: The clean mode uses a multi-stage peak limiter, with advanced lookahead. The release is intelligently controlled, and can be fine tuned using the 'Response' knob. Automatic makeup gain brings the output level up to a maximum of the 'Ceiling' parameter.
  • Loud: The loud mode takes the clean limiter, and adds a variable state soft-clip and peak compressor stage before the final limiting. This mode can shave off some of the louder, more unnoticeable peaks, giving a few extra precious dBs of headroom. This stage automatically makes up the gain before running it into the limiter stage.
  • Tape: The tape mode extends the 'Loud' mode, adding an analogue modelled tape saturation stage before clipping and limiting. Tape saturation creates odd (3rd order) harmonics, and is suitable for most material. As the harmonics create overtones a 5th above the fundamental, it creates a warm and thick sound. You can use this on everything from single tracks, to whole mixes. In fact it's perfect to use as the last stage in the master to get a warm and loud sound.
  • Tube: The tube mode extends the 'Loud' mode, adding an analogue modelled tube saturation stage before clipping and limiting. Tube saturation creates even (2nd order) harmonics, emphasising the root frequency, and octaves above it. The saturation is asymmetrical, and is perfect for single tracks such as bass and drums, to add a bit of warmth to a track.
User Reviews Average user rating of 4.00 from 1 reviewAdd A Review

Reviewed By kevvvvv
November 21, 2017

Maximal 2 is a look-ahead limiter that I first came across in its CM variety a couple of months ago.

I liked it so much I bought the full version. The price is a very reasonable sub $40, and there's often a deal going.

I think I paid $26 for mine.

Limiters are very personal, a bit like guitars. Everyone has favourites. So here's my take on Maximal 2.

What do I like about it most?

> First and foremost, the sound. It makes things sound richer & warmer. For me, this is a special kind of warmth, and I love it on lots of things. Instant improvement.

> The volume. I can get a lot more thick volume from a track. It's now part of my standard channel strip.

> It's adjustable & quick to operate. There are up to 8 levels of look-ahead oversampling, so I can use it on my master out if I fancy. It has 4 types of loudness: Clean, Loud, Tape, Tube, which is very handy when you throw different types of material at it. There's also an adjustable attack, which is very handy as well, eg, fine tuning attacks for bass, drums, lead synths and sounds with snap, compared to thick slow pads. So there's plenty to experiment with, without it being overly complex. I don't take it into the ultra dirty zone much, though it gives plenty of crunch if required.

> CPU is very low. Good code in here, so I can use lots of them.

> I can boost Maximal 2 on output, instead of boosting the input channel trim for level balancing, which can sound better sometimes. It's nice to have the choice.

> i can make choices quickly, as in: Tone? Volume? Go for it.

> I also like the cool black interface. Very tasty, and imo expensive-looking.

Oh, and there's a manual.

What don't I use it for.

> Brick wall limiting on tracks. It's more of a volume & rich tone effect, than a brick wall, although there's no reason it can't do this, with the attack set on zero.

> Dynamic orchestral string parts need to be handled with care, as it can sometimes make them sound plain wrong.

I heartily recommend it. I'm a genuine buyer and not paid to say nice things. I just like it xxx.

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