Maximizing works in real-time by processing certain parts of an audio signal at one time (ex. low-mids) and using compression or limiting to maximize the level of the signal. Typically, maximizing plugins will use lookahead functions to look at audio peaks and decide whether or not it should turn up the audio.
If you've done a good job mixing and setting up your mastering signal chain, then you should be having more than a dB or two of limiting compression, while your master should sound plenty loud. A good limiter is one of the most essential audio mastering tools. It's essentially the last plugin in your audio mastering chain. Every limiter is going to have a slightly different flavor and level of aggression, here are more of my favorite limiter plugins.
Not really. Mastering is one of the places where the quality of the plugins really starts to mater, because they affect the entire mix. While knowing what you're doing is essential (which is why you should register for this free audio mastering workshop), you're only going to get so far with stock plugins.
One of the standout UI suites I created for The Ascent is the hologram minimap in the main menu. As soon as I saw the wonderful visuals that Neon Giant had put together for it, the inspiration struck. It is so visually intriguing, with crackles and visual glitches in the projected image; I imagined some kind of mechanical hologram projector whirring into life when you select the map view, switching between physical slides in order to show different portions of the map. I used recordings of a vintage slide projector to vividly describe this mechanism, as well as recordings of a cathode ray tube TV, a 16mm film projector, and plenty of bubbling analog tonal synth sounds to bring it all to life. It was a pleasure to bring these wonderful visuals alive with audio! 2b1af7f3a8