H Reverb Crack

 

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H-Reverb long Mono Stereo. H-Reverb long Stereo. H-Reverb long Stereo 5.0. H-Reverb long Stereo 5.1. The H-Reverb could be it. Based on Finite Impulse Response (FIR) reverberation technology, it offers rich and deep reverb tails that settles perfectly while breathing a touch of freshness in tracks and mixes.

Have you ever heard of the concept “feng shui?” It’s a practice that originated in ancient China that claims to enable humans to live more harmoniously with their environment. The idea is that we are connected to the different spaces in our homes, and if we make adjustments to these spaces by arranging them in ways that promote positivity, we will live happier (and healthier) lives. Strange way to open an article about reverb plugins, right? Not really. Reverb is space. If we don’t curate that space and caringly place our tracks within it, it can negatively affect our mix in a variety of ways. I’ll admit, I have a love/hate relationship with reverb. This might just be me, but sometimes I feel like I really have to put in significant work to make a reverb sit perfectly in a mix, far more work than it takes for me to feel satisfied with other types of processing like compression, saturation and even delay.

Worth considering is reverb plugins are essentially recreating many, many copies of whatever is fed into them, so if you’re sending in something that is deficient, you’re only multiplying the deficiency. So in that sense, while you can “hide” things using reverb, you can’t fix things with it. Once you understand this, and use reverb not as a band-aid but as a tool to create separation between elements (and to add character and tone to tracks), you’ll find that the elements of your mix will live more harmoniously with one another.

Here are my top 7 reverb plugins to use when mixing …

1. UAD EMT 140 Classic Plate Reverberator

The original hardware plate reverb from German company Elektromesstecknik was released in 1957 and revolutionized how reverb was used in the recording industry. The original 600 lb. EMT 140 Plate consisted of a thin piece of sheet metal suspended by springs and attached to a metal frame. A transducer attached to the center of the metal plate would vibrate the plate when it was fed signal, and one or two pickups mounted to the plate would return the vibration of the plate. The design evolved over time, but the legendary sound of the EMT 140 was preserved in the form of thousands of records on which it was used. When I found out that Universal Audio captured the dense, natural, versatile beauty of the EMT 140 and created a plugin that weighed significantly less than 600 lbs., I was sold.

I use this plugin all over the place when mixing. I’ll use it on vocals, guitars, pianos, strings, horns, even drums. Occasionally, I’ll create an auxiliary track, insert an instance of the 140 and send several elements to it, which creates a lush sense of cohesion. Some mixes require a more subtle application of reverb, and the 140 works well with shorter reverberation times in the .5 to 1.5 second range. Other mixes call for reverb to be more prominently featured and the 140 shines here too, as the longer reverb times combined with the modulation (MOD) feature create a beautiful, detailed reverb tail which is perfect for ethereal, dramatic lead vocals.

Mix Tip

Sometimes a dense, washed out sound is in order, and I quite enjoy combining reverbs. Obviously, in this context I am not going for a natural reverb sound. The EMT 140 works great when combined with another reverb, in particular because it offers you so much control. You’ve got the multiple types of plates included in the plugin, reverberation time, an input filter for taming low end, stereo width, an onboard equalizer, modulation and pre-delay. Because of this, the EMT is incredibly flexible and not only works well on its own but plays well with others.

2. FabFilter Pro-R

As you’d expect from FabFilter, Pro-R is loaded with leading-edge features, a sleek user interface and impeccable sound quality. It can sound natural, other-worldly and everywhere in between. The space knob allows you choose from over a dozen room models which offer decay times ranging between 200 milliseconds and 10 seconds. The brightness, character, distance, decay rate and stereo width allow for additional control over the sound of the space in which you place your signal. Pro-R goes even deeper by incorporating a decay rate EQ and a 6 band post EQ. In physical spaces, high frequencies usually decay quickly while bass frequencies linger. The decay rate EQ allows you to fine tune the decay rate across the frequency spectrum, which is great for subtle fine tuning of reverb tails or creating wild, unnatural sounding reverbs. Lastly, the post EQ enables you to sculpt the overall tonality of your reverb.

Mix Tip

Get weird with this one. Experiment with unorthodox decay rate EQ curves, different character and brightness settings and tweak (or even automate) the post EQ for reverb tails that sound unique and unlike anything you’d find in actual physical spaces.

3. Valhalla VintageVerb

Free Reverb Vsts

Described as a “postmodern reverb plugin, inspired by the classic hardware digital reverbs of the 1970s and 1980s,” VintageVerb covers a lot of sonic ground. The minimalist GUI, which is a trademark of all products from ValhallaDSP, is a treat on the eyes. VintageVerb comes with 18 different reverb algorithms that include chambers, rooms, plates and more. It offers a lot of control over the different elements of your reverb, but because the user interface is so intuitively designed and clearly laid out, it never feels overwhelming or crowded.

If you’re interested in a free foray into the wonderful plugins from Valhalla, check out Supermassive.

Mix Tip

Play VintageVerb like an instrument by mapping parameters to a MIDI controller. I’m all about adding performative elements to mixes in unexpected ways. Think of the additional level of musicality, depth and feeling that can be added by performing simple fader rides, and then consider that you can do the same by automating plugin parameters. VintageVerb has so many controls that lend themselves to be used in this manner. Map the parameters to your controller of choice in your DAW and have fun!

4. Soundtoys Little Plate

This is another emulation of the classic EMT 140, but Soundtoys took a minimalist approach here by putting only four controls total on the user interface of Little Plate: modulation, mix, low cut and a big ol’ decay knob. That’s a strength, not a weakness however, because sometimes less is more. I can dial in a thick, musical reverb sound in mere seconds using Little Plate.

Mix Tip

Reverb

The decay knob goes to infinity. Utilize it. Send a sound through Little Plate, preferably a single note or chord — otherwise the sound will get overly dense and dissonant pretty quickly. Use this never-ending reverb tail however you see fit. Automate it, process it, print it, chop it, whatever.

5. Audio Ease Alitverb

If you’re looking for an all-in-one convolution-based reverb solution, it’s hard to argue against Altiverb 7, which is widely used in both music and audio post-production. If you need to make your sounds seem as if they are in halls, rooms, chambers, clubs, stadiums, cars, trains, boats or as if they are being run through plate, spring or digital reverb units, Altiverb comes loaded with impulse responses for these and more.

Mix Tip

Combine impulse responses. Embrace the unnatural. To be honest, it’s somewhat rare that I am trying to establish an entirely natural, believable sense of space when mixing music. You wouldn’t figure that placing a lead vocal in a mausoleum, while placing synthesizers in a stadium and placing a string quartet in a toilet is advisable, but Altiverb allows you to do just that. You’ll never know until you try.

6. Any (or All) Of These Reverbs From UAD: AKG BX 20, Capitol Chambers & AMS RMX16 Expanded

I didn’t want to have virtually every other plugin on this list be one created by Universal Audio, but the truth is you’d be well-served to have all of these emulations of classic spaces/gear in your arsenal of reverberators. Each of these offer authentic reverb sounds that have been heard on countless records through the decades.

Mix Tips

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The AKG BX 20 is a spring reverb, similar to the type you’d find within a guitar amp. Try placing an amp simulator plugin in front of the BX 20 in your signal path for an instant re-amped sound. It works great on vocals, percussion and of course, DI guitars.

The Capitol Chambers emulates the classic sound of the spaces beneath the Capitol Tower in Hollywood, and it works splendidly in both vintage and modern contexts. Out of any reverb plugin, I’d have to say that I like using this one in mono the most, as it offers an instant 1960s character.

The AMS RMX16 Expanded was designed by Mark Crabtree. The legendary RMX16 Hardware unit surely isn’t a one-trick pony, as it offers a wide variety of effects (not limited to reverb), including echo, chorus and reverse. While I absolutely recommend using the classic nonlinear sound for an instant 1980s character, don’t deny your productions all of the other great sounds that the RMX16 has to offer.

7. PSP SpringBox

This offering from seriously underrated plugin makers PSPaudioware offers a different flavor than the previously mentioned AKG BX 20 — it’s brighter and more jangly. It also offers a bit more control over sculpting the shape of the reverb tail. As with mostly everything that PSP has released, the user interface is intuitive, and the sound is rich and full of character.

Reverb

Mix Tip

Try adding compression after SpringBox for a more in-your-face spring reverb sound.

8. BABY Audio Spaced Out

I had a bit of difficulty deciding which plugin roundup Spaced Out should be included with. While it is a reverb, it’s also a delay, a modulator and, truthfully, it’s a musical instrument unto itself. If you simply want a quick to dial-in, inconspicuous-sounding reverb, perhaps you’d be better suited looking elsewhere. But if you’re looking to really craft something unique, memorable and beautiful, Spaced Out offers a lot more than other plugins included in this list. As with all of BABY Audio’s plugins, the GUI is stunning and encourages exploration. The center “space” module controls the plugin’s reverb effect and comes with four unique programs — vacuum, small space, medium space and outer space. It also features controls for pre-delay, “stardust” (which is a gorgeous octave-up shimmer effect), “mellow” (which adds low and high end damping filters), “clean-up” (which feeds an altered signal into the reverb, resulting in a less dense response) and a “width” control. In the middle of the plugin is an X-Y based “joystick” control that allows the user to morph between the reverb length and modulation behavior. As you can tell, this plugin goes deep, so I definitely suggest putting the time in to learn the many different controls.

Mix Tip

Don’t wait until you reach the mix stage to incorporate Spaced Out. My first experience with the plugin was with my guitar plugged directly into Logic, with that signal then sent to an auxiliary track with Spaced Out inserted upon it. The sounds I was achieving were dramatic, ethereal, lush and sometimes unruly. These are the kinds of sounds that you build an entire production around, not generally the kinds of sounds you want to “fit in” to an already fleshed out production. If you simply want to use Spaced Out in a more conservative way as a subtle delay and reverb effect, then by all means go for it, but I personally feel as if this plugin is best utilized expressively during the production stage.

9. Your DAW’s Stock Reverb

As with any other type of processing, don’t feel as if you need to go into debt by buying every third-party reverb plugin available. While you might not be able to obtain the colors and authenticity offered by the aforementioned reverbs, a lot can be accomplished using the plugins that come stock with your DAW of choice.

People like to make fun of Avid’s D-Verb, which comes stock with Pro Tools. But if you’ve got to place an element back in the mix, D-Verb is better than nothing. If you’re just getting into music production and mixing, it’s not a bad idea to learn using the tools you’ve got on hand. If you can make something sound nice and lush using D-Verb, then you can likely do the same with the many better sounding (and functioning) tools currently available.

Pro Tools also comes loaded with the AIR Creative Collection which includes a standard reverb, spring reverb and non-linear reverb, all of which are quite serviceable and simple to use.

Reverb Plugin Vst

The Reverb plugin in Ableton is actually quite flexible and sounds good, too. It comes with a “Freeze” button, which will freeze the reverb tail as long as the function is activated.

Logic comes with four separate reverb plugins, two of which I use regularly. Space Designer is a handy convolution reverb that features both traditional and wacky impulse responses that can be used to created interesting washed-out textures. I’d argue you can do certain things with Space Designer that you can’t accomplish with any of the aforementioned reverb plugins. Also, Chromaverb is a smooth-sounding, slick-looking reverb plugin that also has a freeze function, as well as both a damping and post EQ, great for sculpting the overall tonality of your tails.

While not all of the aforementioned reverbs are represented in this listening example, check out this tranquil musical cue run through several of my favorite reverb plugins:

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-No-Verb.wav

No Reverb

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-Valhalla-Huge-Synth-Space-Preset.wav

Valhalla Huge Synth Space Preset

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-Valhalla-Concert.wav

Valhalla Concert

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-Little-Plate-Long-Tail.wav

Soundtoys Little Plate Long Tail

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-Fab-Filter-Pro-R-Resonator-Preset.wav

FabFilter Pro-R Resonator Preset

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-EMT-140.wav

EMT 140

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-Capitol-Chambers.wav

Capitol Chambers

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-AMS-RMX-16-Nonlinear.wav

AMS RMX16 Nonlinear

https://theproaudiofiles.com/wp-content/uploads/2021/04/Piano-and-Guitar-AKG-BX-20.wav

AKG BX 20

The best Waves plugins for vocals 2021 review

What are the best Waves plugins for vocals? There are so many to choose from. I’m in a pretty good position to cover this topic. I’ve worked with all Waves plugins throughout the years. I’ve also recently tested the latest V12 versions. In this guide you will find my recommendations.

We’re going to tackle the plugins in alphabetical order. First, a short summary list for those who just want the info quick. Then, I’ll introduce what each plugin does, tell you why I like it and give you my tips on using it.

If you have any further questions, let me know in the comments section.

Disclosure for transparency: I’m affiliated with Waves and although I own many Waves plugins, they provided me with a limited 3-month license for testing and reviewing the latest versions. I only ever promote products I like.Please don’t buy anything unless you’re sure it’s what you need. Check out this post about how to make better buying decisions.

These are the best Waves plugins for vocals:

Waves Abbey Road Saturator

If you are looking for some attitude, vibe and strength for your vocal, the Waves Abbey Road Saturator is an excellent option. It features sections for pre and post EQ, compander and saturation. It works great in most situations and it’s quick and easy to get good results with it.

Why is it good?

The compander section is what makes this plugin special to me. The compander compresses the Pre EQ signal, passes it through low-pass and high-pass filters, and then expands it. This excites the signal and provides control over how different frequencies are distorted based on the compander ratio.

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Sound complicated? Not to worry. Just play around with it until you like what you’re hearing. That’s what I do anyways. It usually doesn’t take long to get a nice solid vocal sound going.

I think this is one of the best Waves plugins for rap vocals as the compander allows you to get that super tight up front sound quite easily.

Waves Abbey Road Saturator tips

  • It’s quite easy to end up with an overly bright sound with this plugin. The Post EQ section is there for a reason. Use it to counter for imbalances.
  • Even though the plugin is called “Saturator”, less is more with that. The saturation can start to sound quite brittle if you push it too hard. A little bit goes a long way – especially when mixing vocals.

Link: Waves Abbey Road Saturator

Waves Butch Vig Vocals

If you’re not a technical person and are looking for a convenient one-stop-shop for mixing vocals, then the Butch Vig Vocals plugin might be the one for you. It has all your basic vocal processing needs covered in a very nice package.

Why is it good?

I prefer Butch Vig Vocals over the Waves CLA Vocals or the Maserati VX1 plugins for example.

Rather than focusing on adding a bunch of effects, this plugin is all about useful and finely calibrated controls. Things that you actually need to solve problems and get the basic sound right. If you’re new to working with vocals, playing around with this plugin will teach you what to listen for when mixing vocals. The controls feel very well focused and precise.

Waves Butch Vig Vocals tips

  • Adjust the input correctly. The plugin is designed to work optimally when the input sensitivity led at the top is blinking green or yellow (not red).
  • Besides your ears, you can use the In and Out meter switches (top left corner) to monitor the relationship between your input and output volume. Try to keep them the same. It will help you in evaluating the sound.

Link: Waves Butch Vig Vocals

Waves DeBreath

Waves DeBreath is a useful companion for mixing vocals. Breath sounds are often a problem as the microphone picks them up much louder than they actually are, and compression tends to make it worse. This results in breath sounds and gasps that poke through the mix in a nasty way.

DeBreath uses an algorithm to detect the breath sounds in a vocal take (with a little bit of help from you). You can then reduce the level of the breaths without affecting the rest of the material. Traditionally this is tedious work that is carried out in the edit manually.

Why is it good?

Because it works! The plugin gives you two thresholds to set – Breath and Energy. When Breath is above the threshold and Energy is below the threshold (as seen in the picture above), the plugin classifies the material as breathing and reduction can be applied.

I have used it with several different singers and it always worked beautifully. I still recommend demoing the plugin first in your specific use case before buying though.

Waves DeBreath tips

  • Instead of removing the breaths, with many types of music it often sounds better if you just reduce them a little bit in volume. Just enough so that they’re not jumping through the mix.
  • You can use the “Room Tone” function to add some subtle room tone to fill in the gaps.
  • Make sure you’re hitting your targets properly by monitoring the breath only also. Just hit the “Breath” button.
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Link: Waves DeBreath

Waves Doubler

Waves Doubler is a classic plugin. It’s a sound enricher and a stereo widening effect, but can be used for all sorts of experimental stuff. It’s very useful for making vocals pop in the mix.

Why is it good?

Doubler is quite old school and that’s part of it’s appeal for me. Above all it sounds great. It is one of those plugins that just work and give you good results every time. It is very simple and straightforward to use. Doubler also has fantastic presets from many top mix engineers to explore.

Waves Doubler tips

  • Use the modulation feature to add small amounts of movement. This can liven up a vocal in a very nice way.
  • It might be tempting to go all out and use all 4 voices. But many times using only 2 can do the trick in a cleaner way by cluttering the mix less.

Link: Waves Doubler

Waves EMO-D5 Dynamics

If you’re looking for a complete dynamic toolkit for working with vocals – look no further. The Waves EMO-D5 Dynamics gives you gating, compression, levelling, de-essing and limiting. The EMO-D5 is a very clean sounding plugin. There’s no analog emulation or other funky stuff going on here as opposed to many other Waves compressors.

Why is it good?

The interface on the EMO-D5 is clear and very nice to use (it was actually designed to work well on touch screen interfaces, and that shows). It also gives you zero latency and low CPU consumption. The controls do what they’re supposed to. It’s a great package for mixing vocals.

Waves EMO-D5 Dynamics tips

  • When mixing vocals, start by switching on the different sections individually one by one. It is easier to figure out what each section is doing that way.
  • The plugin has very nice visual metering. If you’re unsure about what some of the visuals represent, it’s all very well explained in the product manual.

Link: Waves EMO-D5 Dynamics

Waves H-Delay Hybrid Delay

The delay is an essential vocal effect and the Waves H-Delay “just does it”.

From slap-back echo, ping-pong delay, and tempo-sync with modulation, to filtering, flanging, phasing, and more, H-Delay delivers real old school effects, controlled by a super intuitive interface.

Why is it good?

In H-Delay I like that it’s easy to navigate, but most of all I like how it sounds. It has character and vibe. If I had to describe in one word how it sounds, I would say it sounds thick. But not in an obvious or obtrusive way.

H-Delay is one of those plugins that when you put it on, it almost always sounds good. Equally great for big dubby delay effects or short dimension delays.

Waves H-Delay tips

  • The LoFi button emulates the sample rate reduction that many classic analog delay units sported by design. It gives the delay some really nice edge.
  • Use the modulation parameters to bring slight movement to your delays. It can really bring the sound alive, especially when you are synced to a certain BPM.

Link: Waves H-Delay Hybrid Delay

Waves H-Reverb

A reverb can make or break a vocal. You need to have a good reverb in your arsenal when mixing vocals.

The Waves H-Reverb is designed to provide lush, spacious, warm reverberation effects. It’s based on FIR (Finite Impulse Response) technology.

Why is it good?

I love exploring the presets in H-Reverb. It’s a great source for ideas. I especially like the “Hardware” category of presets which replicates many classic reverb units.

H-Reverb has many clever options to tailor the sound exactly how you want it. In that sense, it doesn’t feel like an impulse response reverb at all. In fact it’s more flexible than most algorithmic reverbs.

Waves H-Reverb tips

  • The plugin installs with 2 different versions: H-Reverb and H-Reverb (long). The difference is that the regular version goes up to 6 seconds in decay time and the (long) version goes up to 12 seconds. This gives you the option of using a less CPU-intensive plugin (regular version) in most situations, while still having the ability to do the really long reverbs if you wish.
  • The Global section has several options for giving your reverb different characters. My favourite is the “Drive” knob. It pushes the input gain against a clipper, creating a similar effect where the input of a hardware reverb unit is being pushed hard (I still use many hardware reverbs too and I push their inputs all the time).
  • You can use the “Duck” feature to make the wet reverb signal duck when input signal is present. This is especially great in dense mixes where you want to maximise the impact of the direct vocal. Also equally great as a creative effect.

Link: Waves H-Reverb

Waves Ovox Vocal ReSynthesis

The Waves Ovox allows you to create voice-based musical effects without using a keyboard. It’s very easy to turn your vocal upside down into something completely crazy yet musically interesting. The plugin is designed for vocals but also works well for experimenting with different instruments.

Ovox has so many cool things going on. Without going into all the details, you can use it to get all manners of autotune and vocoding type effects. Just browse the presets and you’ll quickly realise it’s endless.

Why is it good?

Waves Ovox is a ton of fun and a great source of inspiration. It always gives you something unexpected but cool. Yet, it can also be used in subtle and deliberate ways as well. It’s very adaptable, too. It comes with lots of preset chords, scales and harmonies and you can edit them to your liking.

Waves Ovox Tips

  • Ovox can seem quite extreme at first, but try adjusting the “Voice”, “Synth” and “Ovox” dials in the mixer section to achieve more subtle effects. You could also use it on a FX bus to enhance the vocal sound you have going.
  • The plugin only shows the top part of the interface by default. See the icon with two squares in the top right corner? Use that to expand the plugin to show the very powerful EQ, FX and modulation sections.
  • It’s a very deep plugin. Read the manual to understand it properly.

Link: Waves Ovox Vocal ReSynthesis

Waves Renaissance Channel

The Waves Renaissance Channel is a straightforward channel strip with EQ, gate and compression sections with good sidechain controls (so it does de-essing, too). It’s all about simplicity and functional design. The compressor has an Rvox mode which is specifically tuned to work well with vocals.

Why is it good?

The Waves Renaissance Channel is a very utilitarian plugin that gets the job done without fuss and sounds good. The spectrum analyser is very helpful in identifying possible problem areas.

If you’re just looking for a simple channel strip that works and is easy to use, I would recommend this one. If you’re looking for something with all the bells and whistles, take a look at the Scheps Omni Channel below.

Waves Renaissance Channel tips

  • The plugin has presets from something like 40 professional mixing engineers! Browse them to get an idea of the many different use cases and how they like to set things up.
  • The Rvox mode in the compressor works great for vocals in most situations.

Link: Waves Renaissance Channel

Waves Renaissance DeEsser

If you don’t have a good de-esser in your toolbox, then the Waves Renaissance DeEsser is a great choice. It is simple, intuitive, affordable and it gets the job done.

The Renaissance DeEsser combines the technologies used in Waves C4, Renaissance VOX, and Waves DeEsser with proprietary features that make it cleaner and more effective.

Why is it good?

In a de-esser I appreciate the ability to quickly be done with what I need to do. And this is exactly why I prefer the Renaissance DeEsser over the other Waves offerings. It has a clean interface and a very thoughtful feature set.

Phase-Compensated Crossoverhelps to avoid undesirable coloration and phase modulation that would otherwise occur as artefacts of the amplitude modulation applied by the compressor.

Adaptive threshold dynamically adjusts the threshold to the input signal, as opposed to typical “absolute value” threshold processors. This yields more natural-sounding results.

Waves Renaissance DeEsser tips

  • Set it and forget it! I love it.

Link: Waves Renaissance DeEsser

Waves Renaissance Vox Vocal Compressor

Waves Renaissance Vox combines gating, compression and limiting into three super simple, one parameter controls.

Why is it good?

Renaissance Vox is not for everyone. But if you’re not very confident with using traditional compressors yet, it might be just the ticket for you. It works pretty great in most situations.

It may also work for someone who just quickly needs to get some compression going on for monitoring purposes, or to make podcast dialogue sounding better, for example. Especially when combined with the Waves Vocal Rider plugin.

Waves Renaissance Vox tips

  • The Gain control is your limiter ceiling at the same time. Be careful not to crush your vocal with it.
  • To hear the effect of the compressor without a change in level, link the Compression and Gain faders by drawing a box around them—they now move together.

Link: Waves Renaissance Vox

Waves Scheps Omni Channel

The Scheps Omni Channel is a very well designed set of mixing tools. It’s a true workhorse plugin. It has six different sections that you can rearrange freely:

  • Saturation/filters
  • Gate
  • Compressor (3 different ones in fact: VCA, FET and Opto)
  • De-esser
  • EQ
  • Insert (you can insert any Waves plugin that you own here)

Additionally there’ s an output section with monitoring controls and a brickwall limiter to control peaks.

Why is it good?

The Scheps Omni Channel is my favourite channel strip out of all the ones in the Waves catalogue. In contrast to something like the Renaissance Channel, you can hardly call it simple. Yet it is very well thought out and the interface is nice.

Free reverb vsts

The Scheps Omni Channel is both powerful and flexible. You can rearrange the different processing sections in any way like. The insert slot is very useful for vocals, as you could insert a reverb or a chorus right inside the chain, for example (it only works with other Waves plugins though).

Of course it sounds great, too. It has everything you need to make your vocals shine. A real workhorse plugin and absolutely one of the best Waves plugins for vocals.

Waves Scheps Omni Channel tips

  • The metering/monitoring section is very useful and nicely laid out. The VU is great and I love having the mid/side/mono listening options there.
  • Use the little square icons at the top right corner of each module to expand the interface and access further options.
  • Play with the compressors – they all sound quite distinct and good in their own way. The FET is my fav. Great for an aggressive, in-your-face sound!
  • I am not a huge fan of how the Saturation module sounds when pushed. So I prefer to go pretty easy on that and use other things for saturation.
  • The gate is one of the best I’ve used. No matter if you want to use it for subtle cleanup or as a creative tool, it’s quick to find settings that work.
  • Having the ability to gate the Mid and Side signals separately is very interesting!
  • The Mid and Tone EQ bands are identical except in the wide mode, where Mid is wider and cleaner and Tone is narrower and more smeary. The Mid band is better for enhancing the natural character of the source. The Tone is better for making the source pop out and giving it some colour while still keeping it glued to the rest of the material.

Link: Waves Scheps Omni Channel

Waves Vocal Rider

Waves Vocal Rider offers to take some effort away from you by automatically adjusting the level of your vocal takes in order to make everything sound more even. All you need to do is set the target range of the vocal level in relation to the rest of the mix.

The plugin has some pretty clever controls and does a good job at levelling out vocals.

Why is it good?

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First, a disclaimer. In the context of music, I do recommend controlling the level of your vocals manually by ear and volume automation. This is because sometimes you might not want everything to be totally even. You might lose some expression by handing that task over to an algorithm.

But doing it manually is time consuming and sometimes you might just need to get it done quickly. Perhaps you want to knock out a quick demo, or maybe level out some dialogue for a podcast.

In those types of situations, Waves Vocal Rider plugin comes very useful. It does a great job of automatically evening out the volume differences in the recording. It also allows you to write volume automation and flip it into automation read mode, so that you can then adjust the levels manually.

You could also just let the Vocal Rider do a little bit of pre-leveling, while controlling the rest by hand.

Waves Vocal Rider tips

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  • Personally I’ve had the best results by following Vocal Rider with a compressor (the EMO D5 or RVox would work). I like to do a little bit of levelling with Vocal Rider first, and then add some compression. The levelling allows the compressor to operate more of the time within the most optimal range. This results in a more solid vocal sound with less weird artefacts.
  • At any time, you can grab the big fader and make your own adjustments. As soon as you release it, Vocal Rider will continue working automatically. This can be very useful for recording automation

Link: Waves Vocal Rider

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Best Waves plugins for vocals – summing up

There are a ton of plugins in the Waves catalogue to choose from for mixing vocals. When I started thinking about what are the best Waves plugins for vocals specifically, I used three pointers for narrowing down the options: 1) Sound, 2) Ease of use and 3) Value for money.

Instead of buying Waves plugins for the full price, I would recommend waiting out for a sale if you can. Waves are frequently rotating sales.

What are your thoughts? Any questions? Feel free to drop in a comment and I’ll do my best to help you out.