You might think that there is nowhere left for limiting and maximising to go, but you would be wrong... Differing from other limiters, whether inspired by vintage units or newly developed for the digital domain, C-Max employs a unique low-latency algorithm that can deliver greater transparency or, when wanted, a wide range of coloured and aggressive effects. It's easy to master, simple to use, and the results are superb.
For limiting and maximising, the solution... is C-Max
Suitable for all music producers and recording engineers, whether working in small home studios or the largest professional organisations, C-Max is different from conventional limiters; it employs a sophisticated algorithm that's aware of the frequency content of the input and handles the dynamics of the various components of the signal while always ensuring that the output never exceeds the user-defined ceiling.
TRANSPARENT LIMITING: What makes C-Max special? It’s the ability to limit a particular loud sound in one part of the spectrum without ducking everything else. An example of this is when an acoustic guitarist taps the soundboard loudly to create a percussive effect while playing. Conventional limiters will reduce the level of everything, making the sound duck and creating a sucking sound. C-Max will reduce the level of the loud tapping without ducking the rest of the program material.
MAXIMISING: When driven harder, C-Max will maximise with punch, adding presence to all of your sounds. If pushed toward its limits, it will add an aggressive edge that demands attention. But however you use it, it will always provide precise limiting.
It does all of this with the simplest and most elegant control set, and its real-time display lets the user see exactly what’s happening at all times. Offering just three processing controls, it’s so simple that novices can achieve excellent results within moments.
C-Max adds a unique flavour to your limiting, allowing you to decide how far you want to go when making your sounds louder, punchier and more demanding of the listener’s attention.
Three types of limiting effects
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