Looking for a tight, fast, VCA compressor, with a vintage character, a proven track record, and a punch sound? Joe Albano finds out if Waves dbx 160 hits the heights of its hardware counterpart.
We've given the Waves SSL 4000 plug-in a thorough review to see if lives up to its reputation of faithfully emulating the original SSL.
Waves recently updated their excellent Abbey Road bundle with a modeled version of the EMI TG solid state console, the TG12345. Joe Albano gives this plug-in version a thorough examination.
Waves new synth, Codex, promises a new paradigm of sound generation, wavetable and subtractive synthesis elements, and a very clean sound. Does it deliver? Matt Vanacoro digs deep and finds out.
Waves are well known for their audio effects plug-ins used in studios big and small. And now Waves are focusing on the instrument side of the studio. Codex being their latest offering.
Curious to try out the Waves plug-ins most used and loved by Dave AudÃ©? Well, now you can with the Waves Dave AudÃ© Electronic Music Producer bundle. And all for a very reasonable price.
What makes Waves' MetaFilter stand out from the already saturated filter plug-in marketplace? Mo Volans got hands-on and found its analog style sound, amongst other qualities, especially alluring.
Ever been confused what harmonic exciters and enhancers can do to your mix? Waves have made it clear with their new quick fix plug-in. Matt Vanacoro shows why taking your vitamins can help your mix.
We all know about the high-quality mixing tools that Waves make. Their effect plug-ins are industry standard, but what if Waves made a software instrument? Welcome Waves Element.
Abbey Road Studios is famous amongst other things for the sweet double-tracking vocals effects on The Beatles records. Now Waves bring that feel to your studio with Reel ADT. GW Childs checks it out.
Mixing bass can be a struggle, especially when slapping a standard compressor on the track doesn't even things out. Darren Burgos tests out BassRider as an alternative to manually riding faders.
I once spoke with John Regan, the bass player for Peter Frampton. I asked how he liked his in-ear monitors and his less than enthusiastic reply stuck with me, "They're ok", and he said, and he went on