L2M
"I received the L2M MKII and power supply yesterday. It arrived in perfect condition with no shipping issues.
I had a chance to use it for about an hour last night. It sounds wonderful! I really love what it’s doing as a 3:1 compressor on the final mix of mycover of Yes’s Long Distance Runaround. The song has heavy, abrupt bass guitar parts with a lot of zing. The L2M MKII rounds it out just enough to sound classy and smooth without losing any of the excitement in the bass performance (the bass has a very resolute, “chin-up” sound). While that’s going on, the vocals, keyboard and guitar are sitting very nicely.
Well, this is a definite improvement on the Manley Vari-mu. Also, the Drawmer 1968 is really great, but harder/punchier on the mix. I much prefer the L2M MKII in this case. I think I hear the “Macintosh” flavor you were after.
A very enjoyable experience. I couldn’t be happier. Thanks, Danny."
Sincerely,
Dave Wills
"The L2M is our 'go-to' tone-machine. We love the sense of depth that is lends to the midrange as well as the overall solidity of the bottom and velvety highs. It is a must listen in my book. We also love the +10dB gain switch that enables us to take the direct output of our ATR-102 tape machine (bypassing the output pre-amplifiers) and plugging directly into the L2M. Nothing beats it, ever."
Brent Lambert - The Kitchen Mastering
Concerning the L2M, I have a feeling we will grow old together. I don´t want to sound like an add, but it just sounds terrific! How it is able to do 7-8 dB gainreduction on peaks without any audible side-effects is a mystery to me. The response control is in constant use. On a general level I really find it easy to make a perfect balance between vocal and bass material which is sometimes a huge problem with other units. I do sometimes mix electronic based music with high energy low end and now I find it very fast to set up the L2M for great results. It sounds equally great on acoustic music.
I was really surprised when I unpacked the power-supply. I actually thought it was the limiter. The sheer size of the thing is really impressive.
Basically, it makes my work more enjoyable and and my clients seem very happy.
Best wishes
Helge Sten
Audio Virus LAB
Oslo, Norway
With a seemingly infinite choice of dynamic processors at my disposal I use the Requisite L2M more than all others combined. We own two units and are anxiously awaiting our third.
Andrew Mendelson
Chief Mastering Engineer
Georgetown Masters
Nashville, TN
I have long been intending to write a few words about the L2M Mastering Limiter. After singing its praises, again, to someone connected with the world of professional recording it seemed appropriate to put some of my gushing into print. Besides, I promised Danny I would do this months ago.
And, gushing is the right word. You know, in this hyped-up world of ours sometimes it is difficult to discern the spin from the reality. In the case of the Requisite L2M Mark II it is easy. The L2M is the real thing. Period. Any hyperbolic praises you hear from users is well founded in fact and experience. The L2M is a wow.
The L2M is the most transparent instrument of its kind I have ever heard. I choose the words "instrument" and "transparent" carefully. Yes, the L2M is an instrument, built to a standard that others can only dream. External power supply with separate umbilical electric cords to bring B+ and filament voltages to the main chassis. Getting the power supply away from the active audio circuits is the best way. Internal point to point wiring, the kind that tube circuits love best. Yes, tubes don't especially like traces on circuit boards to perform their audio best. Attention to internal wire diameter based on empirical testing and listening experience, and this same attention applied to all active and passive components in the circuit. This kind of attention to detail and passion for achieving the highest performance possible is rare indeed. It is abundantly evident in the L2M Mark II. Doug Fearn engages in this kind of electronic empirical absolutism too, but besides himself and Danny there are precious few others. Sad but true.
I liken the creation of an audio component to the creation of a world class piano. Skill and technique are involved. The heart of the builder/designer is also involved. There are lots of roads taken that prove to be dead ends. Design synthesizes the fruits of the these excursions and builds on the good ones. A high standard is maintained and refined. Hard won knowledge is forged into the design. The bull shit is separated from the truth. And the final test is in the listening. Is the piano you just built going to meet the standard of excellence required? How can you know? Play it and listen. The same can be said of the L2M Mark II. As soon as you listen to it you will understand what you have been missing: clarity, the breath of life, immediacy, non-mechanical, captivating, real, non-fatiguing, transparent, and so forth in this mastering optical limiter/leveling amplifier instrument.
If you are seriously considering a device of this type it would behoove you to put the L2M at the top of your list. But, don't take my word for it. Find, locate, borrow, or rent one and listen to it! Hear how it does what it supposed to and does not damage the sound. Listen to the subtleties, the nuance and gentle audio clues in sound, it allows to pass unscathed and settle on the recorded track. Feel the pathways of auditory processing in the brain open up where once they were on high alert to filter minute micro transients from piquing auditory cognitive sensibilities. Marvel at the open, clear, free feeling the L2M inspires. Breathe deeply and sigh. How wonderfully and utterly sound satisfying.
When you get to this stage of refinement, the L2M Mark II, it is difficult to imagine how it could be made better. I have no doubt that Danny will find a way, if a way exists. In the mean time, go with the L2M. You will be very very happy you did.
Robert Rosenow RFR Audio Lab and Studio
Recording highest quality audio and building boutique single ended triode amplifiers in the heart of Ozark Mountain Country. (but not at the same time)
"I've been doing what I do for about 28 years now and I can use whatever equipment I want, I use Requisite Limiters everyday.
If the throughput of a device doesn't meet my standards of sonic integrity, then I don't use it. The L2M makes me very happy."
Denny Purcell
Georgetown Masters
Nashville, TN
"The Requisite L2M operates much like my old favorite limiter, the LA-2A, only much improved. It is a stereo unit with state-of-the-art tube circuitry, and it retains that warm tube sound. But it's much cleaner and has a very low noise floor.
The L2M includes a great innovation - an expander, or "un-compressor" that is perfect for adding new life to material that has been overly compressed. The compression and expansion are both very handy features to have available for the remastering work that I do.
I never leave home without my L2M!"
Bob Norberg
Senior Mastering Engineer
Capitol Records, Hollywood, CA
Last night I did a session with another engineer from Sear Sound, and oh my goodness, did he ever flip over the Requisite gear. We did guitars, vocals through the Y7s, and ran the L2M compressor on the 2 bus. The Y7s pre is just gorgeous, like a Neve on steroids when you need it, and totally clear and natural like a Grace. I just love the feedback control as well, it's like having a tone control, but unlike any other I've heard.
And the L2M compressor is just stunning. It's interesting how it's set up as a tracking compressor without a lot of knobs and all, but sounds fantastic on the 2 bus too. Very seamless, and clear, and adds just the slightest hint of warmth and color. We were very impressed. I just hope you can really get these out there in the world, they should be in everyone's rack. I really think you have made some classics here, that will stand up for years."
R.L. - Recording Artist - New York, NY
Dan baby;
Paul Orofino here to tell you how happy I am with the L2M limiter... As I write this, one of my clients is mixing a record through the unit, and the results are fabulous!!! I can't tell you how amazing this unit sounds coupled to my VTC console. (a dream come true) The only problem I see is now I have to save up enough to by one for my second room! My engineers won't let me keep this one in the "A" room! Ahh...such problems...
Well as soon as I finish the tracking I will be mixing the new Blue Oyster Cult album through this baby, and quite frankly I can't wait...when was the last time I got so excited by a piece of outboard gear?
Paul Orofino-Millbrook Sound-Millbrook, New York
You know how there are certain things that come in to your life and once they do you realize that you just can't live without them? That was the experience I had when I first heard the L2M Mastering Limiter/Expander from Requisite Audio Engineering. It seemed as if anything I ran through the unit just sounded better. 9 times out of 10 it did.
Imagine using a compressor that sounds like you think a compressor should sound like. No dulling of the sounds, limiting without sacrifice to the program content, fullness without mud.
Build quality, impeccable service, proven design and it looks great too. How could you ask for anything more? Audition one as soon as possible. Just be ready for that "cant live without it experience"
Larry DeVivo - Silvertone Mastering, Inc.
"The L2M sounds full and smooth in a multitude of situations , from individual tracks to sub-groups to the mix buss. Thank you and keep up the outstanding work!"
Gregory Miner - Chicago, IL
The Requisite L2M Tube Mastering Limiter/Expander compressor is simply the best unit that we have ever tried for compressing stereo mixes. There's no pumping, little loss of top end and the compression can be rolled off the bottom end, allowing a more dynamic kick and bass, when appropriate.
It's pretty much replaced the Manley Variable Mu as the last analog compressor in our mastering chain. Thanks to your suggestion of using the Manley before the Requisite (as a peak limiter), I'm getting the best of both worlds. Our recording/mixing engineer has found many useful way to use the L2M for his work and categorized the unit in the "indispensable" category.
Andy Krehm
SILVERBIRCH PRODUCTIONS
CD Mastering, Digital Recording Studio, CD and Cassette Manufacturing
Toronto, Canada
"Having a recording studio equipped with compressors such as UREI 1176, Neve, Tube Tech, API, and Federal we have found that the Requisite mastering compressor is the first compressor we use. As a mastering compressor, the Requisite L2M is one of the finest compressors we have heard. When applied to a final mix, we find the L2M blends the individually recorded tracks without losing the imaging, performance, emotion and dynamics of the performance. We can't say enough about it. The Requisite L2M stereo mastering compressor is a must have stereo compressor for any studio."
Joe Ferrainola / Jimmy Moore - Glen Mills Studio - PA
"My Requisite L2 is gorgeous! And the sound is even better. I love it."
Robert Rosenow - RFR Audio Laboratory - Springfield, MO
PAL Plus
Just wanted to tell you how knocked out I am by your PAL pre/compressor. It's freaking stunning! Great work.
My main gig is mastering, here in NYC, and based on the quality of the PAL, I may be interested in your mastering compressor in the near future, if it performs even close to the level of the PAL I'm sure it must be amazing as well.
Keep up the great work!
Michael Perez-Cisneros
I finally got my PALs and use them on almost everything! At this point a day without them would be a tragedy. Love'em
Just wanted to say that in my latest project, I used an M149 into the PAL with a female vocalist...I love using eq when I mix a vocal BUT...I don't have to! Everytime I tried to improve the sound, things got worse...25% of feedback control and the sound was as lush as it could be...maybe I should just sell all of my eq's now ;)
ok...enough joy...back to work
Thanks again!
AA
I have access to some of the finest mic pre's in my studio & when it came time to track my guitars & vocals for my new CD "Meniketti", I consistently was drawn to the Requisite gear.
Getting the correct sound from my guitar rig to a DAW can be a challenge, but my Requisite Y7s preamps were up to the task beautifully. All my rhythm guitars were tracked through the Y7 & my lead & background vocals were tracked through my Requisite PAL
There is a "real" texture & open sound through the Requisite gear that just wasn't there with many of my other pre's. And everyone in the room gasped when I ran my Larivee acoustic into the direct input of the PAL! It took that acoustic's direct sound to a place I'd never heard coming from that, or any other acoustic direct sound. The presence, body & clean in-your-face sound that this direct input gave my guitar was so good that we chose that sound, over the elaborate mic/pre combo for the mix. And wait 'til you run your background vox through the PAL. Magic!
Great stuff, from a designer & that really cares about getting things right. There's a huge difference between the cheap tube pre wannabee company's gear & Requisite - this is the real stuff. Highly recommended!"
Dave Meniketti - Recording Artist
"I tracked a Fender Jazz Deluxe Bass through the PAL Plus for a boogie woogie/blues piano artist and on playback everyone took notice of how big, warm & round the bass sounded. I then tracked male vocal through the PAL Plus with an AKG C12VR. The C12VR has never really "wowed" me (sometimes it's nice but never stellar). I like the C12VR a whole lot now - The PAL really seemed to open it up with much greater detail and a big, fat bottom end without any of that tube woolliness - This week I'll be tracking my 1961 Gibson ES-330 through it - Can't wait to hear that!
Anyway, I'm very pleased and believe I have "a new favorite."
Marcus Steinman - Discovery Productions - St. Louis, MO
"The new kid in town is a giant-killer, haven't touched my v---m- (famous limiter) since. The PAL keeps it's open, natural, sweet sound even when you're knocking back peaks well over 10 dB. It's my vocal chain of choice. Now I'm wishing I had 2 to mix drums through. Gorgeous box."
Rob Laufer - Recording Artist, Producer - Los Angeles, CA
Danny!
After being convinced from our telephone conversations, I decided to pick up the PAL Plus. WOW! Was it worth it! This baby is probably the best pre amp that I have ever come in contact with. Not only is the pre amp superb, but the limiter also is truly a master piece! Thanks for the great unit. I look forward to picking up a matching pair for stereo mix down!
Anthony Cosmo - New York
"I just bought a PAL and thought I'd drop you a line to let you know how fantastic I've found it! I've put distorted electric guitars, clean electric guitars, and my vocals through it, and it always gets an excellent sound, full bodied and rich. The PAL has helped me make muscular sounds more beefy and more delicate sounds shimmer. I couldn't ask for more!
The sound is the most important thing, of course, but I also wanted to say that I think it just *looks* very clean and professional as well. The knobs all feel very sturdy, the switches rugged. I have no complaints at all."
Thanks for your handiwork, Orren
I wanted to express how happy I am with my Requisite PAL. For straight tracking, it's better than anything I have used (API, John Hardy, Jensen Twin Servo, Tube Tech, Manley), I've rented just about everything I could get my hands on. My goal was to buy a mic pre/comp-limiter that could do several things well and the PAL has certainly fulfilled that. It is a very revealing piece of equipment, the likes I had not been exposed to before.
Apart from your excellent equipment, I wanted to thank you for your willingness to give advice and the modifications you made to my unit at no additional cost. You have also been extremely indulgent of all my questions and numerous phone calls. I can't thank you enough for that."
Danny R. Gork - Chattanooga, TN
"You were right! The Requisite PAL is a wonderful compliment to the Manley and Focusrite. Soon after I got the PAL I A/B'd it with the V--B-- (famous combo unit) and was very surprised at the increased detail in the high end and low end. Wonderful piece!"
Steve C., PDI Music/ PDI Ministries
"When we signed our deal with Dreamworks Records, the pro audio shops here in Los Angeles sent every brand of high-end studio equipment you could imagine for us to evaluate. At the time, we had never heard of Requisite, but there it was among the best available. Not only did Requisite give us the warmth and life that we needed when going to our Pro Tools 24-bit Mix Plus system, they also captured detail and brilliance that until we heard Requisite, we never knew was there.
Since our evaluation, we now have 14 pieces of Requisite gear and we record everything through them. Our Requisite PAL's, Y7's and D4's have been the best investment we've made in our recording studio."
Nick Young - Artificial Intelligence - Santa Monica, CA
"We sent a two channel final mix of a song through linked Requisite PALs to hear how they compared to some of our favorite stereo compressors (a Manley Vari Mu and a Focusrite Red 3). The overall sound of the PALs was extremely clean at the initial un-compressed stage. Over the course of an hour, we tried various settings in an attempt to make the unit distort. Only by slamming the gain at a very high compression output in a 10:1 ratio did the PALs start to sound remotely unnatural. In comparison to the Manley and Focusrite, it affects program material in a much more natural sounding way, while at the same time adding a bit of body to the low end. Very musical and pleasing.
If you're looking for a clean, natural sounding pre-amp/compressor combo, the PAL is a good choice for your rack. As a mic pre-amp, the all-tube design is impeccably built to add depth and clarity with dynamic control that is very natural sounding. As a line level amplifier and buss compressor, two linked PALs provide an option for ultra-clean compression on two channel material. With this in mind, it would be hard to buy just one. In fact, I thought these sounded so good that I had to buy two for myself..."
Walt Szalva - Mix Magazine Review - January 2000
"On Nov. 18th, we used our Requisite PALs on a session with the Back Street Boys for an upcoming release... David Channing came with Producer Patrick Leonard and commented about how good the unit sounded. Said it sounded like an LA2A to him...
Our own engineer Larry Gann actually engineered the session...Click on this page of our site for more. http://airborneaudio.com/recent.htm"
And you've talked to most of us now... Here's our photos http://airborneaudio.com/people.htm. And our main room photo/description http://airborneaudio.com/studioa.htm.
Thanks Danny for all your support. We've all been raving about not only your products, but your customer service as well...Take Care,"
Don Miller - Airborne Audio
Mastering Cable
The first thing I did was to connect the cables between my desk and speakers, and the result was amazing. It was not subtle, the upgrade in sound was very obvious. Three things stood out; the bass response was tighter and more defined, the high end was smoother and the stereo perspective was dramatically better! Actually I feel a bit stupid to have been working in this business for so many years and not paying any attention to cables. I have from time to time wondered about doing some kind of upgrade, but all the technicians I know have been claiming that a balanced line cable will not get any better than the "industry standards" like KLOTZ and BELDEN. Well, I am happy to be educated. I don´t know the theory of your cables, but they do sound way better than anything I have ever used.
Best wishes
Helge Sten
Audio Virus LAB
Oslo, Norway
"I am always trying to enhance the sound I produce with my Jazz Bass and "[Requisite Mastering Cable]" has helped me to do just that. I plugged my bass into my amp and the difference was resoundingly clear from the first note I plucked. Rather than choose adjectives, let me tell you what "[Requisite Mastering Cable]" did. It shortened the distance between my heart and the sound coming out of the amp. I was immediately inspired to compose something on the bass. I was hearing a much clearer, more powerful and extremely pleasant sound. The people behind "[Requisite Mastering Cable]" have made something special. Their efforts are greatly appreciated."
Richard A. Smith
One of my all time favorite pieces of gear is the Requisite PAL mic pre/ compressor limiter. Danny, the designer and owner of Requisite audio told me he had a new line of cabling that will blow every cable out of the water. I got skeptical but he sent some mic cables to my local dealer and I got to put them to the test.
The setup: Microphone was a Lawson L47MP on cardioid, and a Studio Projects C3 on cardioid. We used a Vintech mic pre, the 1272 copy. The output went to my Ramsa converters at 44.1 which are clocked by an Aardsync 2, into Nuendo. We tried the Requisite mic cable (which went from the output of the Lawson power supply to the Vintech) along with a Blue Kiwi cable, a Monster Performer 500 cable, and a ProCo Dynamic.
First off, the differences were not just subtle, but obvious. With a male vocal, the Pro Co sounded screechy and the lows were very weak. My partner called the high end of the ProCo track "splattery". The Blue Cable was very nice. It had a smooth high end and made both mics sound good and much clearer then the ProCo. There was a roundish presence in the upper mids. However, the lows were not very present in the Kiwi. The Monster was one of the worst cables tested. The sound was very small, the other cables seemed to make the voice appear bigger. The Monster was also the most unclear. Last was the Requisite. Now, at 300 bucks, this thing is not cheap. I was VERY skeptical about it. But man, as soon as we played back the vocals sung through it, it was the clear winner. It was just perfect, the sound was big, rich, warm, and natural. The top end was smooth, and there was no unwanted peaky mids. But the most apparent thing was the fullness of the lows. A/B-ing the Requisite track to the other cable tracks made the other cables sound much thinner. I was so impressed that I wrote this review, and you can be damned sure I am buying the cable. For the skeptics, and I am sure there will be plenty of you, I will post wavs of this test on my web page along with many other little tests I've done including DAW summing tests in about two weeks or so. To sum it up, the Requisite was the best, followed by the Blue, then the ProCo, then the monster. Cable does matter.
Steve
"Richard...Well, I received my new Requisite Audio "[Requisite Mastering Cable]" and "wow" best describes my reaction. When I first heard the price, I thought, "Richard, you've got to be kidding!" You are such a positive guy by nature, and I thought your pitch on these cables had to be an oversell.
Wrong. These cables are the single, most cost-effective item I have ever bought to upgrade my sound. It's truly like buying a new world class amplifier, except maybe better. I have an Evans 200 watt head and a Razor cabinet and it's a really nice system. Yet, somehow, the sound always left me searching for something more.
With "[Requisite Mastering Cable]" the sound immediately came out of the box. More 3 dimensional and alive. Distinctly more musical, sweet and round. But also able to cut through as never before. The acoustic qualities of my chambered Nickerson Skylark guitar now shine. And the individual notes articulate clearly in all chord situations.
Thanks so much for introducing me to these cables. I'm one happy player."
--B. Stern,
Physician and Guitar enthusiast
"[Requisite Mastering Cable]" by Requisite Audio have definitely improved the fidelity of my sound - more definition and presence, more clarity in the low end. In combination with my Standel amp it's probably the most hi-fi guitar sound ever.
-- BJ Cole - Pedal Steel
Elton John
Sting