Following the announcement earlier this week, Waves Audio issued this statement on behalf of Meir Shashoua, CTO and Co-Founder of Waves Audio…

Over the past few days, many of you have expressed concerns about our decision to discontinue perpetual plugin licenses and our move to an exclusive plugin subscription model.

I would like to start by apologizing for the frustration we have caused many of you, our loyal customers. We understand that our move was sudden and disruptive, and did not sufficiently take into consideration your needs, wishes, and preferences. We are genuinely sorry for the distress it has caused.

After respectfully listening to your concerns, I want to share with you that we are bringing back the perpetual plugin license model, side-by-side with the new subscriptions. You will again be able to get plugins as perpetual licenses, just as before.

In addition, those of you who already own perpetual licenses will once again be able to update your plugins and receive a second license via the Waves Update Plan—again, just as before. This option, too, will be available alongside and independently of the subscription program.

We are currently putting all our efforts into making perpetual licenses available to you again, as quickly as possible. In the meantime, you can keep up-to-date on this news page, where we will post the latest updates on perpetual license availability.

I would like you to know that we are committed to you, our users. We listened to your feedback, and we will continue to listen to you. Waves is a company filled with users and creators, just like you, and we are all as passionate about the products as you are. With this in mind, we will strive to find the way to make things right by you, and hopefully regain your trust.

Thank you for your feedback and continued support—I wish you all the best,

Meir Shashoua CTO and Co-Founder

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Waves has introduced StudioVerse, a groundbreaking AI-Powered system for plugin chains which is now available in Waves Creative Access subscription service. Waves’ new subscription service provides subscribers with easy, affordable access to all Waves plugins.

Waves Audio, the world’s leading developer of professional audio signal processing technologies and plugins, launches StudioVerse, a groundbreaking AI-powered system that will help producers and audio creators unlock the full power of all Waves plugins, bringing to their DAW the power of an entire musical community. Waves also introduces its new subscription service, Waves Creative Access, which includes the entire Waves plugin catalog and is now the exclusive way to get Waves plugins.

With Waves Creative Access, all Waves plugins are finally at the fingertips of all producers, musicians, engineers, and audio creators. Finally, all Waves plugins—the world’s largest, most diverse catalog of industry-leading audio creation tools—are available to everyone, in one easy, affordable subscription service. (Current owners of Waves plugins will continue to own the existing versions of their plugins.)

Waves Creative Access subscriptions include all future updates for the included plugins, as well as new plugins added regularly. No hassle, no extra cost— finally, everyone can produce and mix with the latest versions of all Waves plugins, always, with complete freedom.

https://www.youtube.com/watch?v=erzVpZjUQBc

Waves Creative Access offers two subscription levels, each available as a monthly or annual subscription:

• The larger option, Waves Ultimate includes all Waves plugins (over 220 and growing), at only $24.99 a month or $249.99 a year.
• For those seeking a more modest but still vast collection of plugins, the second option, Waves Essential, includes over 110 pro-quality plugins covering essential mixing and vocal production needs, at $14.99 a month or $149.99 a year.

Together with the release of Waves Creative Access, Waves also releases StudioVerse, a groundbreaking AI-powered community for plugin chains that opens from within the Waves StudioRack plugin chainer. StudioVerse helps users unlock the full power of all Waves plugins: it is suitable for producers, musicians, and audio creators at all skill levels, from beginner to advanced. For those who are not expert mix engineers, StudioVerse is designed to break the knowledge barrier in mixing, and make great-sounding results accessible to everyone.

StudioVerse is a vast online network of plugin chains, available directly in your DAW. It includes thousands of presets for entire plugin chains, with easy Musical AI search. Each chain is like a shortcut to a professionally produced or mixed track. The chains are created by industry-leading GRAMMY®-winning producers and mixers, such as Young Guru, Chris Lord-Alge, Manny Marroquin, and many more—plus hundreds of other top pros and expert creators. StudioVerse is also an open platform, where anyone—you, too—can upload and share chains at any time, so the vast number of mixing chains available in StudioVerse is ever-growing.

The most groundbreaking aspect of StudioVerse is its Musical AI search engine, which recommends the best chains for your specific tracks. All you need to do is click the “Scan” button: StudioVerse’s musical machine learning engine will learn your track’s “Audio ID” and instantly recommend mixing chains matching your unique sonic fingerprint. In addition, you can search StudioVerse chains by free text search and using tags, classified by instrument, genre, or various sonic characteristics.

“Since we started Waves,” says Mick Olesh, Waves Managing Director, “our goal has always been to give all music and audio creators easy, affordable access to the largest catalog of pro-quality plugins. Now, with Waves Creative Access and StudioVerse, you have everything you need in order to inspire your creativity—instantly, always at your fingertips, so you can create with total freedom.”

Waves Creative Access subscriptions are for plugins only. Waves application such as eMotion LV1, SuperRack, SoundGrid Rack for Venue and Dugan Speech are still sold individually.

Welcome to issue 7 of Audio Media International

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Sound Engineer and lecturer, Jon Burton, casts an expert eye over Waves Abbey Road RS124 Compressor…

What is it?
The latest collaboration between software designers Waves and Abbey Road Studios is another emulation of a hardware unit inextricably linked with the legendary studios and, of course, their most famous client. The RS124 valve compressor, they boldly announce, has been “central to a vast array of legendary recordings, having been used on every Beatles track ever recorded at Abbey Road Studios”. 

What’s great?
A thoughtful emulation of not just one, but several, of these rare and iconic compressors, that provides a distinctive and classy sound with a few modern twists.

What’s not?
This will not be to everyone’s taste but will find many converts to its unique sound.

The bottom line:
Another ‘character’ compressor with a top-notch pedigree. If you like your plug-ins to have a personality and a bit of history, then this will be well worth trying. 

The verdict:
We are all fairly used to the concept now of emulations of classic gear but Waves new collaboration, with Abbey Road studios, offers a plug-in version of a compressor that most of us have heard, but only a very small number have ever used. This is a recreation of the EMI  RS124 valve compressor, heralded for being “central to a vast array of legendary recordings” and having been used “on every Beatles track ever recorded at Abbey Road Studios”. 

It is interesting in the promotional video to hear Mirek Stiles, the head of Abbey Roads Studios Audio Products, talk with such passion and enthusiasm not just for the original units, but also this plug-in, that has been developed to capture their styles. 

Now you may wonder why I have dropped into the plural. Well, this is a unit that was purchased by EMI for their studios, but so heavily modified by them that the original makers, Altec, would probably not recognise the result, apart from the distinctive VU meter. The RS124 comes from a time when studios would test equipment and decide if it was up to their ‘house’ standard. The Altec’s were adapted, more controls added and eventually allowed into the workplace at their Abbey Road studio, where they soon found work in the various EMI studios for tracking, and also in the cutting rooms. 

Different versions, apparently dependant on their attack characteristics, were favoured in different applications and the plugin reflects the characteristics of the two most popular versions, offering ‘cutter’ or ‘studio’ models, switchable on the GUI. The two models provide distinctive flavours of the original Abbey Road RS124s. 

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With all plug-ins that emulate older gear, it helps to understand why they were popular, what they were predominantly used for. The two models offered by Waves reflect those different roles. ‘Cutter’ has slower attack and release times, these models would be found not just in the cutting rooms, sitting on the track, but in the studio for track bounces, where they would help smooth out transients. The ‘Studio’ version, with faster attack times, was a favourite of engineers like Geoff Emerick on track busses, but also instruments, especially the bass guitar. It is worth contextualising this as well, because we are talking about the mid-sixties, at the infancy of multitrack recording. Studios were not using as many channels as we do now, and any hardware was expected to perform to a very high standard and have multiple uses. It is a tribute to the RA124 that is still held in such high regard today, although until now you probably had to rent Abbey Road studios to get to use one!

A good deal of care has gone into the design of the plug-in. The interface has the usual high-quality ‘vintage’ look we expect from software designers these days. Any extras have either been incorporated into the front panel discretely or provided with the ‘expand’ switch. This opens below the plug-in and provides useful options not available in the original, such as a dry/compressed mix control and sidechain and linking options. These are all useful additions. The other major departures from the originals are the ‘super fuse’ and ‘auto-hold’ options available from the front panel. By clicking on what on the hardware version would be the fuse holder, the release and attack are matched giving a ‘supercharged’ compression. I must admit to having tried this almost immediately and was suitably impressed, it giving that instantly gratifying smashed-up sound on my drum bus. 

It was actually in ‘cutter’ mode that I gave the RA124 it’s first workout. Across some old mixes I was re-mastering it helped bring a bit of body, and punch, which was helpful. Using the mix control, I could dial in enough of the compressed sound to aid, rather than dominate, my mix. 

Moving to studio mode it worked great on bass, as I hoped, preserving the front-end attack but helping the track sit in the mix. I found that the fastest attack sounds were the most practical for the applications I tried, but with all these things experimentation is the key.

So, does it match the hype? Is this the ‘holy grail’ of compressors? I don’t believe there is such a thing as the ‘ultimate’ compressor and the hyperbole may put some off. ‘The most unique and important compressor in the history of recorded music and Waves have just nailed the sound’ claims Mirek Stiles. Maybe, it is certainly one that most of us have heard in use, but counterclaims can be made. However, the rhetoric shouldn’t detract from the fact that this is an important and distinctive unit. In the two ‘flavours’ offered by Waves, alongside the updated features, you get a workmanlike compressor with bags of character. I found it a joy to use, and on the right thing, in the right place, it sounded superb and achieved results I would struggle to accomplish with other single plug-ins. 

Will I buy it? Yes, I think I may well do. It has enough adaptability to fulfil several roles in a unique characterful way, and I think it has grown on me enough for me to miss it, and I can see it only becoming ever more useful.

Available now – RRP: $199 (currently subject to discount pricing at $39.99 that pricing may change on an ongoing basis due to sales and specials).

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Waves Audio and Ocean Way Nashville Studios have collaborated on a brand new plugin designed to emulate the revered acoustic environment fo the famous facility.

Ocean Way Nashville Studios were designed from the ground up by Ocean Way founder Allen Sides. Its control rooms are designed to provide an accurate acoustic response that translates seamlessly to other listening conditions. Supervised by Sides, the Waves Nx Ocean Way Nashville plugin is designed to deliver true representations of the control room’s finely tuned acoustics over any set of headphones.

Nx Ocean Way Nashville is powered by Waves’ Nx technology for immersive spatial audio. Waves’ Nx uses channel crosstalk, inter-aural delays (ITD), filters (ILD), early reflections, and head motion tracking to replicate the immersive experience of hearing audio in the real world. Developed by Waves in collaboration with Ocean Way Nashville Studios at Belmont University and with Ocean Way Audio, this plugin, the companies said in joint statement, ‘represents a technological breakthrough in accurate 3D spatial audio modeling of a real acoustic environment’.

Sides said of the new plugin: “With Ocean Way, it was always about the sound. In all the studios we built over the years, the single most important thing was the monitor systems. What this plugin gives you is the space to create a better mix. You can put on a set of headphones, and it sounds like you’re sitting in this amazing control room, with an amazing set of speakers in front of you. This is a phenomenally accurate reproduction of what we created at Ocean Way Nashville – a remarkable replication of what it sounds like to sit in my studio control room. I think it’s a valuable asset to anyone trying to define what a truly great mix is. It simply makes the mixing job easier.”

The Waves Nx Ocean Way Nashville plugin is now shipping.

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Sound Engineer and lecturer, Jon Burton, casts an expert eye over Waves CLA Epic Plugin, designed in collaboration with Grammy Award-winning producer Chris Lord-Alge.

What is it?
The latest collaboration between software designers Waves and legendary mix engineer Chris Lord-Alge, CLA Epic combines Lord-Alge’s favourite go-to delays and reverbs in one plugin, that lets you blend, layer and internally route the effects.

What’s great?
A novel workflow-based approach to blending multiple effects using console type faders to get that ‘epic’ sound.

What’s not?
Lacks the simplistic interface of other CLA plugins that may put off some users.

The bottom line:
If you like to combine reverbs and delays then this is the place to do it. 

The verdict:
I have to start by admitting that I have more than a passing interest in echo units, and indeed reverbs. The proud owner of over twenty hardware echo units, from tape machines to early analogue and digital machines, alongside countless plug-ins, I am a bit of a ‘dub delay’ obsessive. When I read that Chris Lord-Alge was producing a new plugin for his CLA range for Waves I was suitably excited. 

For those of you who may be unfamiliar with Chris Lord-Alge, he is a Grammy award-winning mix engineer, with a career that encompasses such giants as Green Day, Muse and Bruce Springsteen. However, for many software users, he is probably as well-known for his range of software plug-ins, the result of a very fruitful relationship with software designers Waves. His ‘signature series’ is a collection of all-in-one multi-effect processing chains which draw on Lord-Alge’s knowledge, experience and huge arsenal of outboard effects and processors. They have gained a very solid reputation amongst users and are often named as go-to units for many musicians and engineers. I, myself, can name several plugins from this range that are my first choice for many tasks, and the prospect of a new product from this union is always exciting.

Part of what makes the CLA signature series so useful, and popular, is its accessibility. Most plug-ins in the range have simple controls, usually a bank of six faders and a selector switch and some helpfully labelled buttons. This unified appearance has been dropped from the more recent plugins for practical reasons as the range has expanded, more recently with mix hub, a software recreation of Lord-Alges console and workflow, and his latest, Epic. 

Epic is by far the most ‘wordy’ of the CLA plugins. Its numeric display design is reminiscent of early digital units, such as the famous Lexicon Larc controller, often to be seen in pride of place on the console of many big studios. This plugin is an obvious nod to those classic reverbs, and other similar devices, not just in looks, but in the sound that it is capable of creating. Advertised as being four go-to delays and four go-to reverbs, based on Lord-Alge’s best studio gear, it is a creative assimilation rather than straight emulation of those sounds. This is what helps elevate Lord-Alge’s plugins above the rest. He knows what is needed. He knows what sounds each unit produces best, and how to use them. This artistic editing, an adaptation of the hardware sound in a very usable form, is the key to his success.

I found Epic initially somewhat daunting, it is a departure from the CLA range in terms of simplistic useability. However, it helps to understand the creative purpose that underlies this plugins design. Lord-Alge is adept at creating space and dimension in his work. Part of this is down to using a blend of different delays and reverbs to create an ‘epic’ depth to his sound. It is this combination of sounds, adding individual reverbs to the delay tails, blending with the other effects, that is the key to using this plugin. The choices are based on what Waves call modules. 

These are software recreations of favourite studio hardware, what they are based on I will leave you to guess, but to a certain extent it is unimportant, it is their effectiveness that is their key as there is no attempt at a faithful recreation of a device, rather a feel for it, what Lord-Alge probably considers the most purposeful sounds. These are presented as four delays, four reverbs that can be combined and blended easily and quickly.

My initial response was to delve into the screens, to get technical, but I believe I was missing the point. The fun here is blending the basic sounds to produce that combination of sounds that fit into the track. Once I had grasped the basic flavours I was soon at home crafting new combinations that had the right blend of delay and gentle tapering reverb tail. Only once I had got close to the sound I was looking for did I then delve into the individual units, switching between their screens to shorten a delay time here, lengthen a reverb tail there. 

In true Lord-Alge form, most of the work is done with the faders and the small high and low pass filters above them. Using the filters can help you tailor the highs and lows of the effects, deaden a delay to sit it more comfortably in a mix, or lighten the low end of a reverb to give a track space.

There is plenty to adjust and tweak but also there is often no need. The pre-sets have been designed by someone with an intimate understanding and knowledge of the sounds, as in other CLA plugins, they just sound good! Banks of pre-sets are provided from Lord-Alge, for drums, guitar, keys and vocal. These provide enough starting points for most sessions. There are also factory pre-sets, as well as a long series of artist pre-sets by other Waves users. I had to check out my colleague, Pooch’s, pre-sets, they weren’t bad. Very useable.

So where does this sit in the marketplace? It is undoubtedly a very powerful collection of reverbs and delays, many of which would hold their own against more sophisticated dedicated plug-ins. Epic’s strength lies in its ability to combine, blend, and cascade a series of complimentary effects to produce very useable sounds, in an innovative way. It can easily replace multiple plug-ins and in a more manageable way, that is both faster and more creative. Blending using the faders I found fun and easy and essentially a more creative process. Will I buy it when my demo expires? Probably yes, you can never have too many delays.

Included in the CLA Epic bundle is Echosphere. This stand-alone plugin contains just the slap and plate sections in a handy two fader unit! Almost worth the discount bundle price on its own!

Available now – RRP: $199 (currently subject to discount pricing at $29.99 that pricing may change on an ongoing basis due to sales and specials).

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Waves Audio is now shipping its Abbey Road RS124 Compressor Plugin.

The RS124 compression has been central to a vast array of legendary recordings, having been used on every Beatles track ever recorded at Abbey Road Studios. The custom built compressor was a favourite of Abbey Road engineers in the ‘60s, regularly utilised by the likes of Geoff Emerick, Ken Scott and Norman Smith.

Today, GRAMMY-winning engineer Tony Maserati regularly uses RS124 tones to his vocal tracks, including those of Beyoncé and Alicia Keys.

Mirek Stiles, head of audio products, Abbey Road Studios, commented: “The RS124 left a massive sonic fingerprint on Abbey Road Studios’ 1960s sound. This rare beast is a thing of beauty for any genre in the modern production chain. Inserting the RS124 plugin instantly creates vibes hard to emulate in other ways. It pumps beats and glues synths quite unlike anything I have ever heard in the studio. It’s unique, crunchy and lush – it will not disappoint.” 

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Mick Olesh, Waves EVP of sales and marketing, said: “Since the beginning of our collaboration with Abbey Road Studios in 2011, we have developed an impressive line of over a dozen exclusive products including this new release – the Abbey Road RS124. Waves is delighted to offer musicians, producers and engineers accessibility to this unique tool, enabling new and innovative sonic capabilities. This exciting release is another step in our ongoing policy of offering distinctive and creative tools for enhancing the artistic creativity and workflow of Waves users.” 

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Waves Audio has confirmed availability of its new V12 (Version 12) plugins.

The new range of plugins offers users the ability to resize Waves plugins, something which the firm says has been highly requested by its customers. Other new additions include a new accelerated preset search engine, retina-ready graphics, and plugins added to select premium bundles.   

V12 also enables the resizing of plugins. Users can choose from five GUI sizes – up to 200 per cent of the original plugin size – as well as customise different default sizes per plugin, to have them open in whichever size they prefer. 

Meanwhile, with V12 plugins users can find and audition presets instantly using the new preset browser. 

Owners of Waves’ premium Platinum, Horizon and Diamond bundles who update their bundles to V12 will receive three bonus plugins added to their bundle without extra charge: LoAir, Submarine, and the Smack Attack transient shaper. 

To update to V12, Waves plugins need to be covered by the Waves Update Plan. The Waves Update Plan comes free for one year with every new Waves plugin or bundle purchase, and is renewable at any time afterwards. 

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Waves Audio has released a new Kaleidoscopes plugin which creates a selection of classic analogue studio effects, from psychedelic phasing and tape flanging, to seventies tremolo and eighties choral sounds.

The plugin utilises Dual Cascade FX engines which allow users to  run serially into one another for unique effects, or run in parallel for super-wide soundscapes. The plugin also boasts intelligent triggers that respond dynamically to performances in real time.

On each of the two engines, users choose a selection of waveshapes or any sidechain signal from a DAW session to be the modulation input. A performance can also be chosen as the input, allowing live playing to control the sound in real time and drive the pulsing of the effect.

Kaleidoscopes offers control over the Speed, Resonance, Width and Depth of the modulation, with filter settings and mix knobs for extra versatility. There are five different effect characters for different analogue flavors, and users can tempo-sync the modulation effect to their DAW sessions, to ensure consistency when they re-open a track.

With the Intelligent Triggering section, users can set input-sensitive envelopes and adjust intelligent triggers, enabling the two effects to ‘listen’ to a performance and respond dynamically. There’s also a Thru mode, with the dry signal on one channel and the wet signal on the other.

Kaleidoscopes is included in Waves’ Mercury, Pro Show and SD7 Pro Show bundles.

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The new version of plugins from Waves Audio has arrived.

By updating to V11, users can benefit from future-proofing their sessions, ensure continued compatibility with the latest DAWs and operating systems (including macOS 10.15 Catalina), enjoy plugin performance improvement and full technical support, receive new plugins added to premium bundles, and more.  

Also included are newly designed versions of the classic Waves Renaissance bundle featuring freshly designed interfaces with three skin choices (Light, Dark, and Legacy); real-time frequency analyzer added to the Renaissance Equalizer and Renaissance Channel plugins; a complete rehaul of the Renaissance Channel user interface for more intuitive usage of the channel strip plugin; and 700+ new presets by leading artists. Waves V11 also includes NKS support added to 43 Waves plugins, for compatibility with Native Instruments hardware.

V11 is installed via a new improved version of Waves Central, the application that lets you easily install and manage your Waves licenses across different devices.

V11 Features:

> Full ongoing compatibility with the latest major DAWs and operating systems (including macOS 10.15 Catalina).

> New updated version of all Renaissance plugins, including all-new interfaces and hundreds of new artist presets.

> Additional plugins added to selected premium bundles.

> Plugin CPU-usage improvements and fixes, plus access to all other plugin updates since V10.

> 1400+ artist presets added to plugins.

> NKS support added to 43 Waves plugins, for compatibility with Native Instruments hardware.

> V11 plugins supported in the new Waves SuperRack plugin rack and in eMotion LV1

Note: V11 plugins are not supported in MultiRack, SoundGrid Studio and StudioRack applications. 

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Plugins from Waves Audio were employed by live sound engineers for a variety of performers in diverse setups and consoles throughout Lollapalooza 2019.

Now one of the longest-running in the United States, the iconic festival brings in close to half a million people each year, taking place over four days in the heart of Chicago’s lakefront. The 2019 lineup featured some of the world’s biggest artists across hip-hop, electronic and every flavour of rock.

The sound engineers for festival headliners Childish Gambino, Twenty One Pilots and J Balvin, plus top-drawing acts like Janelle Monáe and Kacey Musgraves, have come to rely upon Waves plugins for their live mixing needs.

Mixing the sundown set on Friday night at Lollapalooza, Janelle Monáe’s right-hand woman, front-of-house engineer Amanda Davis, has been touring for over six years and has been a Waves user for “as long as I can remember.” Davis likes to keep it concise when it comes to effects processing, running the Waves MultiRack plugin host with a SoundGrid Impact Server-C through DMI cards on her DiGiCo SD10.

A 17-year veteran in the live sound business, Charles Izzo has been using Waves tools professionally for over a decade. Mixing monitors for Donald Glover a.k.a. Childish Gambino, Izzo is constantly optimising his effects chains, going for that solid dynamic sound that he feels only studio classics can deliver. “The Studio Classics Collection bundle, with the Waves SSL and API plugins, is used on pretty much any show that I mix. Having the colouring and responsiveness of those plugins makes a huge difference for me, whether it’s at FOH or monitors.”

FOH engineer Travis Bing, helming the boards for six-time Grammy-winning country singer/songwriter Kacey Musgraves’ show, talks about the vocal processing: “My chain is a Puigchild 660 into F6 into C6 into the NS1 Noise Suppressor, into parallel group compression, and finally into the PuigChild 660 compressor again,” he said. “PuigChild is a constant for me on vocals, and the F6 has become a strong go-to as well: it’s like the C6 on steroids – so versatile and can achieve so much so quickly. I use the PSE (Primary Source Expander) on my background vocal groups. I have five background singers, so I’ve got to do something to suppress those open mics whenever I can.”

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