For all L2’s sophistication, the 2U front panel is a marvel of simplicity and makes this unit a joy to operate (see Fig. 1). The white-on-black control labels are easy on the eyes and large enough to read at a distance. The same goes for the numerical readouts and colored status LEDs. Best of all, the unit has no master LCD and no banks of menus to scroll through.
On the left are seven buttons, one for each processing parameter or I/O option. The buttons toggle through the available settings, which are clearly indicated by orange or green status LEDs arrayed to the buttons’ left.
The buttons control input selection (AES/EBU, S/PDIF, analog); synchronization (external, digital, internal); sample rate (44.1 or 48 kHz); sample rate 52 (for 88.2 or 96 kHz operation); bit depth (16, 18, 20, 22, 24); dither (type 1, type 2, off); and noise shaping (ultra, normal, moderate, off).
The center-detented, analog-input gain controls range from –10 to +10 dB. To the right of the gain controls are three pairs of large, one-inch rotary control knobs, each with a yellow numerical LED and multisegment gain meters with automatic peak hold. The knobs control different parameters for each channel independently. The first pair adjusts the L2’s threshold downward from 0 dB FS in 0.1 dB increments, and the meters indicate the input-gain level. The next pair, called Out Ceiling, controls the final output level (again in 0.1 dB steps downward from 0 dB), and their meters indicate output gain. The third pair governs release time and the knobs are adjustable over a range of 0.01 ms to 1 second. The associated meters indicate the amount of gain reduction.
To the far right is a pair of switches that activate the L2’s auto-release function for each channel. Additional switches that engage stereo or dual-mono operation, bypass mode, and meter peak-hold reset are located in the center strip between the individual channel controls.
The front panel had one minor problem: the tips on some of the buttons were loose and wobbly. In fact, a few came off upon examination. The switch mechanisms are recessed below the panel, and without the tip, they could be accessed only with a small, pointed tool. Waves has confirmed that this problem has since been corrected.
The power switch and all connections are on the rear panel (see Fig. 2). Analog I/O is available on XLR and 1/4-inch jacks, but at +4 dBu professional level only. Balanced or unbalanced signals are accepted on both types of input connectors. On the outputs, the XLR jacks are balanced and the 1/4-inch connectors are unbalanced. The L2 has no –10 dBV semi-pro connectors.
Inserting a 1/4-inch plug at the input interrupts any signal present in the XLR connector. However, I found that some crosstalk from the XLR input was easily heard when both jacks were connected, prompting me to manually disconnect the XLR cable.
As noted earlier, the supported digital signal formats are AES/EBU (XLR) and S/PDIF (RCA), with input switching on the front panel. Both digital outputs are active simultaneously, which is a big advantage in a studio or mastering situation. Latency is rated at a low 1.5 ms. The unit’s all-metal chassis is vented on both sides because it runs rather hot.
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Reprinted with permission
from 
Magazine, December, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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