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 Waves Bundles Comparison Chart PDF
Eddie Kramer HLS Channel & PIE Compressor Features for HLS - Modeled Mic & Line preamp drive - Analog noise & hum for added realism - EQ bypass mode - Up to 24bit 96kHz resolution - Mono and Stereo components - Supports TDM, RTAS, Audio Suite, VST, AU Additional features for PIE - Compression and limiting modes - Auto-makeup gain more info
Vocal Rider All you need to do is set the target range of the vocal level in relation to the rest of the mix. Then, Vocal Rider compensates for all deviations from the target, intelligently raising or lowering the vocal volume, instantly. And unlike everyday compression, Vocal Rider adds absolutely no additional coloring to the track. The new Vocal Rider Live component includes an exclusive Spill control to differentiate the vocal from background instrumentation and noise, for better tracking and performance. Features - Keep steady vocal & dialog levels automatically - Save time by automating the vocal riding part of the mixing process - Write the automatic riding to an automation track for fine tuning - Real-Time means no latency and no pre-scan needed - Dedicated Vocal Rider Live component - Up to 24bit 96kHz resolution - Supports TDM, RTAS, Audio Suite, VST, AU - PC and Mac compatible Controls - Target sets the reference range for vocal mix positioning - Vocal Sensitivity differentiates vocal content from noise floor and ambience - Vocal Activity LED indicates when vocal activity is detected - Spill differentiates between vocal signal and unwanted ambient stage noise (Live version only) - Attack sets the vocal detection attack behavior - Music Sensitivity determines the amount Vocal Rider adapts to instrumental levels - Music Sensitivity LED indicates Vocal Rider’s response to instrumental levels - Range Min/Max set the boundaries of the Rider Fader movement range - Effective Range displays the total gain range available for automatic riding - Idle Arrow sets the Rider Fader value when there is no vocal activity - Rider Fader is Vocal Rider’s automatic control - Automation Mode controls the Rider Fader operation - Output trims the vocal output gain, post-auto riding - Clip LED shows when output is clipping more info
LoAir Features - Add weight, drama, and depth - Enhance existing subharmonics - Processes polyphonic source material - Full session recall, full automation - Mono, Stereo, 5.0-to-5.1, and 5.1-to-5.1 components - Up to 24bit, 192kHz resolution - Supports TDM, RTAS, Audio Suite, VST, AU - PC and Mac compatible Controls - Frequency controls the cutoff frequency of the low pass filter - LoAir controls the volume level of the generated pitch - Direct controls the level of the direct unprocessed signal - Output Meter displays the LFE output levels - Direct Signal Filter determines if the direct signal is filtered or not - Align delays the direct signal to synchronize it with the generated pitch - Output controls the overall output level. (Mono & Stereo components only) - LFE Output controls the level of the LFE Output. (5.0 & 5.1 components only) - Feed Section (5.0 & 5.1 Components only) - L/R controls the amount of Left & Right channel content fed to the pitch engine - C controls the amount of Center channel content fed to the pitch engine - Ls/Rs controls the amount of Left Surround & Right Surround channel content fed to the pitch engine - LFE (5.1 only) controls the amount of LFE channel content fed to the pitch engine more info
Waves Noise Suppressor Designed from the ground up especially for Post professionals, the workflow, approach, and interface of the WNS will be immediately familiar to Post engineers. WNS offers all the flexibility, portability, power, and precision of software, like true Pro Tools integration, multiple simultaneous instances, and full automation. Features - Zero latency means perfect picture sync - Designed especially for dialog - Low CPU usage - Multiple simultaneous instances - Significantly more affordable than hardware - User-definable frequency range selection - Up to 24bit, 192kHz resolution - Supports TDM, RTAS, Audio Suite, VST, AU - PC and Mac compatible more info
The Eddie Kramer Collection Vocal Channel: "When mixing, there’s always a fight going on between the vocal and the rest of the track. For me, what makes a good mix is when all the elements combine seamlessly, complimenting one other. When we designed the Vocal Channel plug-in, we did it in such a way that the user can position the vocals within the mix, and then blend it back into the track, without it popping out, in such a way that it retains all its original clarity and presence." Bass Channel: "The idea behind the Eddie Kramer Bass Channel was to create a fat bass sound with a lot of presence, that cuts through without being overbearing. In general, the low-mid frequencies are accentuated, so it really pops on radio mixes. That way, you can always hear it clearly, even at low volumes on small speakers. The Bass Channel comes in two flavors: Bass1, which is less compressed, for a more dynamic sound that has room to breathe, and Bass2, a more aggressive sound with increased compression." Guitar Channel: "The Guitar Channel plug-in features settings for lead guitars and two types of rhythm guitars. When it comes to lead guitar, I want it to become a living, breathing organism, creating a palpable sense of excitement within in the mix. By combining the right amounts of EQ, compression, delay, reverb, and a touch of flange, these 5 elements, working together, make it come alive. For rhythm guitar, I try to get it “in your face” as much as possible, without over-processing the sound with EQ. By adjusting the amount of compression, and not overdoing the amount of space, I make sure that the guitar stays up front, where it belongs." Drum Channel: "The Drum Channel plug-in really captures the essence of my drum sounds. Whether you’re trying to achieve a huge Zep-like sound with loads of atmosphere, or are going for something more dry and down-to-earth like the Stones, or need a heavily-compressed, squashed, Hendrix-type sound, this is the plug-in that will get you there, quickly and easily. Since there are individual modes for bass drums, snares, and so on, you can really mix things up by creating your own hybrid drum kits, using your favorite elements from each." Effects Channel: "For the Effects Channel plug-in, I set out to recreate some of the basic elements that I use whenever I’m painting a sonic picture. Over the years, these elements have evolved to suit a variety of sources and styles, from whispering vocals to screaming guitars and beyond. more info
CLA-2A Modeled on the legendary electro-optical tube compressor, the CLA-2A emulates the original’s smooth, frequency-dependent behaviors that have made it a favorite of engineers everywhere. Like the mid-‘60s classic, the CLA-2A sounds great on guitars and bass, and really shines on vocals. more info
CLA-3A Based on the early ‘70s solid-state unit known for its unique and highly transparent compression curve, the CLA-3A delivers the quick response and the subtle harmonic distortion for which the original is world-renowned. And just like the original, the CLA-3A is the bomb on bass, as well as on guitars and vocals. more info
CLA-76 Bluey & Blacky Inspired by two highly-desirable revisions of the famed mid-60s Class A line level limiting amplifier, both versions of the CLA-76 (“Blacky” and “Bluey”) offer the superfast attack (as quick as 50 microseconds!) that made the originals studio legends. With an exclusive “ALL” control that recreates the original’s explosive “All-Ratio-Buttons-In” mode, plus modeled pre-amp distortion for extra edge, the CLA-76 delivers some of the most powerful drum sounds.  - Superfast attack - Exclusive ALL control - Pre-amp distortion modeling - Zero latency - Up to 24bit 192kHz resolution - Mono and Stereo components more info
H-Delay From real old school PCM42-style effects like filtering, flanging, and phasing, to slap-back echo, ping-pong delay, and tempo-sync with modulation, H-Delay delivers the goods, controlled by an easy interface that lets you get right down to business. Features - Up to 3500 ms delay time - Variable pitch delay time behavior - Analog character modes - Infinite feedback support - LFO-controlled pitch modulation - LoFi mode - Tap + BPM sync - Full MIDI support more info
H-Comp H-Comp is a dynamics processor that combines the modeled behavior of transformers, tubes, and transistors, together with the power and precision of the digital realm. The result is a compressor with capabilities that engineers could only dream about back in the day. H-Comp lends a whole new meaning to the concept of THD: Total Harmonic Distinction. Featuring - Analog modeled release behavior - Wet/Dry mix for easy parallel compression - Unique transient pass-through control - Exclusive BPM-sync release function - Analog character modes - Output limiter/clipper modes - External sidechain support - BPM Readout more info
Maserati ACG The ACG is a comprehensive tool to help gain ultimate control and energy boost from a variety of acoustic guitar types. The ‘ACG 1’ setting allows you to maximize level and sculpt your top and bottom. ‘ACG 2’ setting has more built-in compression for bringing out the subtleties in a live performance. Both have appropriate room settings available to be dialed in at varying levels. more info
Maserati B72 The B72 has two distinct starting places. The 'DI' setting on electric or acoustic bass will help you enhance the roundness, while keeping it lively throughout the song. The 'Synth' setting opens up a different door, with thickness, stereo spread, and harmonic flavor. It’ll fill the speakers like an old Prophet. more info
Maserati HMX In 'Modal' mode, the HMX will make your piano wide, with just the right amount of chorus effect, to give it life on a vocal demo, or raise your Wurlitzer’s presence, for some ethereal magic. 'Bounce' mode will add a bit of reverb and delay, to create energy and movement for a sensitive ballad or live-ness to a funky full-band setting. more info
Maserati DRM The DRM was designed to help the excitement of percussive transients get heard through mixes which are thick with instrumentation and vocals. Whether on programmed or live drums, DRM is a great starting point for your mix. more info
Maserati VX1 The VX1 is a compact package for full vocal control, whether you need to squeeze the most emotion out subtle performance or engulf it in a room with a full band production. This plug-in has all the processing you need for Vocals. Contour 1 will give you a studio or small venue room; Contour 2 is a larger chamber with reflective pre-delays, most suited for slow ballads; and Contour 3 is set up for quicker tempo songs with a very small room and matching pre-delay. more info
Maserati GTi Tony Maserati created the GTi with all the different guitar players he admired in mind. He tried to find settings that would be a starting place for getting their sound, from the ‘Clean’ in-your-face sound of Elliott Smith to the wide chorus-y spread of The Police's Andy Summers using the 'Clean Chorus' setting. On the 'Heavy' setting, a bit of level and EQ help your already crunched guitar sound scream through any thick instrumentation. ‘Thick Rhythm' lets you to subtly or substantially make your rhythm guitar sound livelier; it also works great on Wurlis and Horns. The 'Soft Flange' setting adds interesting and subtly audible filtering to legato notes or sustained electric guitars. more info
Waves Dorrough Surround The Waves Dorrough Meter Collection - Surround Edition includes the Waves Dorrough stereo meters with all their advanced display features and functions, plus customized meters engineered especially for Surround production environments. Developed in association with Dorrough Electronics, Waves Dorrough Meters display both average and peak levels and in a single readout, making them the only meters which actually let you see the density of your sound. more info
Center Waves Center is a processor that separates phantom Center content from Side (L/R) content. With Center, you can zero in on the phantom center and bring out or bring down the vocals without affecting everything else. Perfect for post-production engineers and DJs as well, Center lets you reposition, isolate, and even eliminate elements of your mix. Using a unique dynamic engine which considers the amplitude, frequency, and time envelope of stereo sources, Center gives you the power to radically re-balance your spatial imagery. Adjustable punch, high frequency, and low frequency controls let you enhance detail with maximum impact. Controls include high and low balance for frequency content between the Center and Sides. Punch control to position the transient content. Center, sides and master gain. Output Meters to display the stereo output after processing and center Detection Meter. more info
MV360° MV360° is a dual function dynamics processor for 5.0 and 5.1 surround applications. With six channels of low level and high level compression, as well as nine versatile Link Modes, the MV360° is one of the simplest, most flexible ways to control your surround sound dynamics. Features - High level compression - Low level compression - Double precision bit resolution processing - Up to 24bit 192kHz resolution - 9 convenient Link Modes - Supports TDM, RTAS, VST - PC and Mac compatible - 5.0 to 5.0 and 5.1 to 5.1 components more info
Dorrough Meter Collection The Waves Dorrough Meter Collection features models of Dorrough’s most popular loudness meters: 280D/240D, 380D/340D, and 40AES/EBU. Developed in association with Dorrough Electronics, they provide precision loudness monitoring for every conceivable audio scenario. They can be used as Input Meters to attain optimal recording levels, as Group/Auxiliary Meters to achieve optimal group loudness, or as standard Master Output meters. more info
UM225 & UM266 From music to movie soundtracks, audio engineers are upmixing content from stereo to surround, to capture the excitement of today’s multi-speaker environments. UM225 and UM226 stereo-to-surround processors are two tools which bring Waves quality to the new surround soundscape. In order to achieve optimal surround from stereo, the character of the original mix has to be maintained, including absolute levels, relative levels, and relative positions in space. At the same time, the positioning of the center, rear, and LFE channels has to enhanced for a rich, enveloping 360° mix. Using patented center and rear channel extraction processes, together with a unique LFE channel enrichment process, the UM225 for 5.0 and the UM226 for 5.1 deliver improved surround imaging, for a wider soundscape with better separation. UM225 and UM226 are particularly useful for sound designers who want to use stereo effects on surround soundtracks; for engineers updating archive material to the new HDTV surround standard; for keyboardists who need 5.0 or 5.1 output for virtual instruments; for post-production specialists who want to enhance LFE effects like explosions, earthquakes, and street rumble; and for recordists that require creative conversion of stereo sources to surround in real time. more info
PuigChild 670 & 660 Throughout the vinyl era, the original Fairchild 670 compressor was ubiquitous: From the recording studio to the record lathe, the Fairchild was renowned for its advanced compression techniques and incomparable sound. We’ve captured every distinctive nuance of Jack Joseph Puig’s Fairchild 670 along with every detail of its rich harmonic complexity. Features - Lateral Vertical Mode (MS Compression) for Optimal Stereo Imaging - Linked & Unlinked Modes - Digidesign Icon Support - Up to 24bit, 192kHz Resolution - Mono and Stereo Components more info
PuigTec EQP-1A & MEQ-5 The Pultec EQP-1A is renowned for its unique ability to boost and cut the same frequencies simultaneously, thereby creating a resonant shelf. The PuigTec EQP-1A is a replication of Jack Joseph Puig’s original hand-crafted unit, heard on many popular recordings from artists including Weezer, Black Crowes, and Panic At The Disco. The MEQ-5 has a distinctive tonal characteristic that made the original Pultec hardware a mainstay at high-end studios for decades. The midrange PuigTec MEQ-5 and the broadband PuigTec EQP-1A together comprise a full range vintage EQ chain. more info
API 550A Modeled on API’s late 1960’s legend, the API 550A EQ delivers a sound that has been a hallmark of high end studios for decades. It provides reciprocal equalization at 15 points in 5 steps of boost divided into three overlapping ranges. The high and low frequency ranges are individually selectable as either peaking or shelving, and a band-pass filter can be inserted independently of all other settings. The 550A is a uniquely powerful equalizer with that one-of-a-kind API sound. more info
API 550B Featuring four overlapped EQ bands, the 550B gives tracks that sweet analog sound that API is renowned for. With 7 switchable filter frequencies spanning up to 5 octaves per band, the 550B’s “Proportional Q” automatically widens the filter bandwidth at minimal settings and narrows it at higher settings. It even lets you undo previous processing, affect or even reverse tonal modifications. With its vast range of tonal possibilities, the API 550B is a versatile EQ for all your processing needs. more info
API 560 Based on API’s 1967 classic, the 560 10-Band Graphic Equalizer features precision filtering and massive headroom, so you can take your sound to the edge and beyond. The 560’s curve shaping potential is unmatched, while API's unique "Proportional Q" design intuitively widens the filter bandwidth at lower boost/cut levels and narrows it at higher settings. And since boost and cut characteristics are identical, previous actions can be easily undone. For precision equalization with unmatched versatility, turn to the EQ heard on top recordings for decades: the API 560. more info
API 2500 The API 2500 is a dynamics processing powerhouse that lets you deliver the punch with absolute accuracy. Its dual channel design lets the 2500 also function as two separate mono channels via a single compression setting. Using auto-makeup gain, you can adjust Threshold or Ratio while automatically maintaining a constant output level. With both "feed back" and "feed forward" compression types, the 2500 boasts a wide range of incredibly musical parameters which have made it a favorite of engineers the world over. more info
V-Comp Using a fixed nominal output gain and time constants, the V-Comp recreates the rich lush buss sound of the vintage 2254 hardware compressor. This super-responsive dynamics processor packs a recognizable musical punch heard on countless hit records. Its controlled, gentle compression can really glue a mix together. more info
V-EQ3 Combining the best characteristics from two of the world’s most desirable console modules, the 1073 and 1066, this 3-Band EQ, with its classic cutoff points and adjustable High Pass Filter, is ideal for mixing and mastering. With the V-EQ3, it’s never been easier to achieve the rich classic sound of the ‘60s and ‘70s. more info
V-EQ4 Modeled on the highly sought-after 1081 console module, this classic 4-band equalizer features detailed high frequency boosts plus High Pass and Low Pass Filters. The V-EQ4 captures the characteristic sound of vintage analog gear while providing the limitless flexibility and versatility of the digital environment. more info
MaxxVolume The very first plug-in of its kind, MaxxVolume performs all essential dynamics processes in one convenient tool. Combining technologies from Waves' acclaimed L2 Ultramaximizer, C1 Parametric Compander, Renaissance Vox, and Renaissance Compressor, MaxxVolume is ideal for mixing and mastering as well as broadcast and post-production, perfect for voiceovers, vocals, and instrumental tracks. - It’s a Vocal tool, with automatic level riding that keeps your vocal in focus. - It’s an Instrument tool, controlling the dynamic range without the artifacts of compressors and limiters. - It’s a Broadcast tool, bringing any program to a fixed destination level; ideal for radio and TV, podcasting, internet streaming, and more. more info
L3-LL Multimaximizer The L3-LL is a multiband peak limiter that lets you maximize your mix, track by track, instrument by instrument. Including the same versatile presets that made the L3 the favorite of engineers the world over, the L3-LL extends the capabilities of the L-Series by leaps and bounds. Plus, its low latency opens up a new world of multi-track possibilities, making it an indispensable tool for mixing and mastering engineers alike. The L3-LL’s PLMixer Peak Limiting Mixer technology, with minimum-phase crossover filters designed for low latency, maximizes your volume with breathtaking detail. When you need maximum sound with minimum latency and complete control, the choice is clear, loud and clear. more info
L3-LL Ultramaximizer The L3-LL Ultramaximizer is a special edition of the L3-LL Multimaximizer which is included with Platinum bundles covered by Waves Update Plan. It delivers the same great sound as the L3-LL Multimaximizer using an intuitive, streamlined interface. more info
L3 16 In the beginning, Waves created the L1 Ultramaximizer, and it revolutionized the world of mixing and mastering. Then came the L2 Ultramaximizer - heard on hit records and major motion pictures the world over. The way was paved for the L3 Multimaximizer, the world’s first auto-summing multi-band limiter. Now, Waves is pleased to present the newest member of Waves acclaimed L-Series, the L3-16 Multimaximizer, a 16 band peak limiter that delivers unparalleled loudness with unprecedented control. Powered by Waves patented PLMixer Peak Limiting Mixer technology, the L3-16 maximizes your sound with pinpoint precision and breathtaking detail. With a wide variety of sonic flavors ranging from analog warm to digital cool, no matter what genre, no matter what sound, you’ll stand out from the crowd, loud and clear. Features Global Limiter Section - Threshold sets the global limiting threshold: -30dB to 0dB - Out Ceiling sets the maximum output level: -30dB to 0dB - Threshold/Out Ceiling Link allows simultaneous adjustment of the Threshold and Out Ceiling faders. - Attenuation Meter displays the overall wideband attenuation: -30dB to 0dB - Release proportionately shortens or lengthens Release Character release values: x0.1 to x10.0 - Release Character contains ARC Auto Release Control factory presets - Separation sets the Q for the multiband network crossover filters: Low, Medium, High Priority / Gain Controls - Priority adjusts the relative limiting across all bands: -18dB to +18dB - Gain controls the gain of each Paragraphic EQ band, in front of the limiter: -18dB to +18dB - Gain/Priority Link allows simultaneous adjustment of the Gain and Priority controls. - Freq sets the frequency for each Paragraphic EQ band: 16Hz to 20kHz - Q adjusts Q for each of the 6 Paragraphic bands: 0.33 to 3.0 - Filter Type selects the filter type for each Paragraphic EQ band: Bell, Low Shelf, High Shelf - In/Out switches individual bands on or off. IDR Section - Quantize sets the output bit depth: 24, 22, 20, 18, or 16 bit - Dither selects the IDR dither type: Type 1, Type 2, None - Shaping selects the amount of noise shaping: Normal, Moderate, Ultra, None more info
SSL G-Master Buss Compressor Based on the renowned master buss center compressor of the SL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of its IC input and twin VCA gain-reduction amplifier design. This compressor has long been prized by top engineers for its ability to “glue together” tracks, and is considered by many to be the ultimate finalizer that transforms a mix into a finished record. It’s also ideal for taming piano dynamics or adding punch to drums and percussion. With gain reduction meters that mirror the originals, the SSL G-Master Buss Compressor displays levels in dBu rather than in dBFS and includes SSL’s coveted Autofade feature, with an adjustable fade rate from one to sixty seconds. You can even switch the Analog modeling feature on or off to suit your needs. more info
SSL G-Equalizer This four-band equalizer, modeled on the SSL G Series EQ292, offers greater gain change than the E-Series EQ, and a slightly different curve. The SSL G-Equalizer includes a slight dip before a boost as well as a slight rise before a cut, which contribute to its incomparable sound, and its broader Q allows for more extreme equalization. That’s why many leading engineers use the E Channel’s equalization for detailed problem-solving and mixing, and the SSL G-Equalizer to shape and give character to the sound. more info
SSL G-Channel G-Channel consolidates the equalization and dynamic controls of SSL G Series consoles into one convenient tool. The G-Channel EQ module delivers the original hardware’s characteristic pre-boost dip, pre-cut rise, and broad Q for extreme frequency manipulation. The Dynamics section features soft-knee compression and limiting, a gate/expander, and automatic makeup gain for rock steady output levels. Together, they deliver the one-of-a-kind sound and convenient routing flexibility that have made the SSL G-Series console a control room classic. Features - Developed under license from Solid State Logic - Up to 24bit, 96kHz resolution - Mono and Stereo components more info
SSL E-Channel The SSL E-Channel delivers the characteristic sound of the original’s all-discrete design and its Class A, VCA chip. Equalization The equalization section of the SSL E-Channel is based on the renowned Black Knob equalizer, developed in 1983 by SSL in association with legendary producer George Martin. The Black Knob equalizer featured enhanced cut and boost ranges and a steeper 18dB/octave high pass filter for tighter control of low frequencies, as well as a smoother curve. Features a High Pass Filter, Low Pass Filter, and a four-band parametric equalizer. The Split feature lets you position the Low Pass and/or High Pass filters before the dynamics processors and put the filters in a dynamics sidechain for simple de-essing. Dynamics The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E. Like the original, it can be placed before or after the equalization section, and makeup gain is automatically applied to maintain a steady output level. The compressor’s adjustable attack lets you choose between the default auto-sensing function which responds to your source material or a fixed 1 ms. attack time. more info
GTR Waves Amp Playing through two cabinets or recording with two different microphones are great ways to get a great guitar sound in the studio. Waves Amp gives you these options in every configuration, providing six different microphones to choose from, with each either on or off axis. You can also reverse the phase of either cabinet for even more tonal options. Cabinet sounds can be blended together easily using the Gain controls, or panned separately when used in stereo. more info
GTR Stomp GTR features 23 Stomps, with everything you need to custom shape your sound for any musical situation. From Distortions, Delays, EQs, Compressors, and Reverbs to Phaser, Flanger, WahWah, Chorus, and more, GTR has got you covered. And with features like sync-to-host BPM, drag-and-drop simplicity, and MIDI control, it’s never been easier to dial up your sound. One PedalBoard can hold up to six Stomps, easily selected from the pop-up menu. You can rearrange the Stomps by simply dragging and dropping for a different order and a completely different sound. The Stomps and PedalBoard are fully automatable, using DAW automation, MIDI, or a continuous MIDI controller for real-time operation. more info
GTR Tuner Included in the GTR Bundle is the Waves Tuner, which can be set to Chromatic or Alternate tunings. A lit arrow lets you know which way to tune, while a highlighted note tells you which note you’re tuning to. The tuning reference can be adjusted plus or minus 6 Hertz from 440. more info
Z-Noise Z-Noise gives you the power to shape your noise profile with pinpoint accuracy, using a familiar 5-band EQ interface. Real-time operation means you can fine tune parameters and hear your changes as you make them. You can monitor the entire Audio output or just hear the Noise being removed. Z-Noise even lets you choose between increased frequency resolution or improved time resolution, or a combination of the two. Bottom line: With its extensive noise profile shaping tools, innovative transient preservation and exclusive extractive/adaptive dynamic noise detection, Z-Noise truly is a revolution in noise reduction. more info
DeBreath Breathing is something singers seem to insist on doing, even when it spoils a perfectly good take. Now DeBreath lets you not only eliminate those breaths, but also lets you turn them in your favor, using them for new creative effects. DeBreath is a revolutionary new plug-in that automatically reduces or removes breath sounds on vocal tracks. DeBreath employs a unique template-matching algorithm that detects breath segments and separates them from the main vocal, so breath sounds can be reduced or eliminated without affecting the rest of the signal. Room tone can also be added to compensate for its loss where breaths are removed or reduced. Because DeBreath can be used to separate a vocal track into two elements, one containing only voice and the other only breaths, each can be processed differently, for the emotional effects of breathing to be enhanced with additional processing if desired. In addition to cleaning up singers’ tracks, DeBreath is also an effective time-saving tool for engineers working with voice-over and spoken-word recordings. more info
Tune Waves Tune packs more pitch-transforming power into a single, easy-to-use plug-in than anyone ever thought possible. What’s more, all this power is extraordinarily easy to use. Everything you need to shape pitch is right there in Tune’s elegant interface. Features: - Work in perfect sync with your host and do all your editing from within the Tune interface without being bound to a specific section of your track. - ReWire lets you listen to your edits in real-time, together with the rest of your tracks, starting playback from any timeline position. - Formant corrected pitch processing results in natural sound, with an astonishing new level of transparency and no audible phase shift. - Tune features powerful yet extremely easy-to-use editing tools and a totally intuitive piano-roll screen. - The large, user-friendly display is easy to use and navigate and the superior Zoom Tool lets you know exactly where you are at all times. - Tweak Natural Vibrato for maximum realism or fine tune Synth Vibrato to transform your sound. - All edits are non-destructive and saved with your session. - Export MIDI files to double your vocal parts using your favorite synth or sampler, or to create note-for-note transcriptions. - Choose from dozens of standard and exotic scales, or set and save custom scales with amazing flexibility. - Tune is completely compatible with multiple hosts, so you don’t need more than one version of Tune. more info
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