OK, so I have come into the digital age in a lot of ways. I own four digital consoles and I use Reason in my studio. While I am plenty comfortable with plug-ins, there are still times when I just want a piece of hardware — a box with knobs that responds exactly how I expect without having to think about it. Waves is best known for their plug-ins. It you are a Pro Tools guy or mixing on a Venue system, I’ll bet dollars to donuts that you have at least one of them in your arsenal. But what a lot of people don’t know is that they make some pretty nice hardware as well.
The Gear
The Maxx BCL is a serious piece of hardware. Two rack spaces and it’s hefty — some of my power amps weigh less. The short version is that the BCL combines the MaxxBass system with a compressor and limiter. The idea is more low end and total signal level without increasing distortion. Bottom line is a louder mix with at least the perception of more bass. According to Waves, the guys mixing acts including Gwen Stefani and Metal-lica are using them as part of their system.
A quick note: The BCL is every bit as useful in the studio as it is onstage, which I will get into later. The reason I bring it up now is that the first controls you will see on the front panel are for choosing sample and bit rates, which comes up in recording more often than live. Next are four pre-set buttons for saving and recalling a few scenes for different purposes and the compressor, which has all of the controls you would expect, plus the addition of both opto and electro modes. Your choice.
The next section is the MaxxBass, which is what I mostly used this for live. The idea — apparently it has been around for years and organ makers used something similar — is to increase perceived bass without actually increasing low-frequency energy. In other words, more thump without the risk of blowing your drivers. Finally, we have a limiter that allows you to goose overall program volume. A nice touch is that all of the meters are backlit so you can see them under a wider range of lighting conditions.
The back panel has all of your inputs and outputs, both digital and analog. Digital formats cover the gamut — S/PDIF, AES and optical in both lightpipe and coaxial flavors. Input on the analog side is a pair of Neutrik combo jacks and outputs are XLR and balanced 1/4” TRS.
The Gig
My first use was in my studio where I noticed an immediate difference — a huge difference. Mixes using the BCL sounded richer throughout the entire range — not just in the low end, which is what I expected. I actually had to be reminded several times that we needed to take this out on a couple of gigs because I really did not want to take it out of the studio rack.
When I finally pulled it out it was for a large outdoor gig. I have a city client that does several festivals throughout the year, and this one had 25,000 people in attendance for a very good classic rock cover band onstage.
While we were setting up the system, we inserted the BCL and put on a Madonna track known for huge low end. Now, my systems are never un-der-boxed when it comes to subs. I own a bunch of Quake cabinets and the truth is that I have more of an issue with my name-brand top boxes keeping up with the subs than the other way around. So, I may not be the best candidate for this system, but I can tell you that with the sub level dialed in at less than half of what it normally is, we had all of the bass we needed. But more tellingly, the amps were not working as hard as they usually do and the drivers were nowhere near over-excursion.
It comes down to this. For me, the Maxx BCL is better in my studio where I love it and don’t want to take it out of. But then I am, if anything, over-boxed on subs on nearly every rig that goes out the door. But I can see a real use for this if you are under-boxed or underpowered when it comes to the low end. I can also see it as a way to protect your system on bass-heavy hip-hop and dance gigs. If the perceived amount of bass is where the client and crowd want it, and your boxes and amps are not on the edge of meltdown, it is a good thing. The Maxx BCL is not cheap. But if you factor in the cost of replacing amps and drivers when someone pushes the system past its limits it does not look quite so pricey.
Waves MaxxBCL
What It Is: Bass enhancement, compressor and limiter.
Who It’s For: Rental companies that could use a few more subs and pretty much any serious studio.
Pros: Sounds great and very easy to use. Could save your drivers in the right situation. Made every mix I used it on sound better.
Cons: Pricey.
How Much: $2,499.
