[ddots-l] Re: Fwd: Introducing Waves Abbey Road - The King's Microphones
- From: "Bob Reid" <info@xxxxxxxxxx>
- To: <ddots-l@xxxxxxxxxxxxx>
- Date: Sun, 29 May 2011 09:32:11 -0400
Post of the day! Everybody save that essay!
Bob.
----- Original Message -----
From: "Bryan Smart" <bryansmart@xxxxxxxxxxxxxx>
To: <ddots-l@xxxxxxxxxxxxx>
Sent: Sunday, May 29, 2011 3:22 AM
Subject: [ddots-l] Re: Fwd: Introducing Waves Abbey Road - The King's
Microphones
Waves is funny. A lot of people swear by there stuff, but most of those
people, I often find, have no idea how any of the processing actually works.
Here is an example.
Most plug in manufacturers will try to give you lots of features and bang
for the buck. Great Plug-ins, Inc. might give you their Great Plug-ins
Compressor. It would have the standard compressor features like settings for
threshold, ratio, attack, release, and gain. They might also provide a
side-chain input, provide a mode selector (digital, analog, optical, etc).
That all fits on one screen. You can do a lot with it.
Waves, on the other hand, will make a compressor, and will repackage it a
zillion different ways to mess with the newbie mind.
For example, they'll make the Waves digital compressor, the Waves analog
compressor, and the Waves Optical compressor. The digital one will talk
about how exact its processing is, but digital compressors have been around
for over 30 years, and are no big processing deal. They'll talk about the
completely different Waves Analog Compressor, and how it contains code that
exactly models vintage analog compressors from the golden days before
everything supposedly sucked. These are silly marketing buzz terms. Their
analog compressor would simply add a saturation dithering algorithm to the
output stage, so that the output signal is smoothed when you over-drive it.
Their Optical Compressor will include references to 60's and 70's rock that
was mixed with it, and will probably talk about Joe Meek at least once. The
only difference between their Optical Compressor and the earlier Analog
Compressor is that the Optical Compressor will have an off set applied to
its response time, and will use a slightly different curve for the ratio.
You could dial up any of that with the Great Plug-ins Compressor, but, hey,
Waves just sold you three plug-ins, where Great Plug-ins, Inc. only managed
to sell you one. Man, those people at Great Plug-ins, Inc are really missing
out on all of the suckers.
Waves won't stop there, though. They'll make a version of the plug-in with
the ratio set to maximum, and call it the Waves Limiter Pro. They'll be
really nice people and not let you set negative ratios on their main
compressor plug-ins, so that they can sell the same plug-in that supports
negative ratios, and call it the Waves Digital Expander, the Waves Analog
Expander, and the Waves Optical Expander. A special version supporting
side-chaining will be called the Waves Ducker. Another version of the
Compressor, with negative max ratio will be produced, and they'll call it
the Waves Noise Gate Pro Platinum. Oh, and they'll also include both mono
and stereo versions of all of these plugs, where as the Great Plug-ins, Inc.
people just put a mono/stereo button on their compressor.
So, yeah. Great Plug-ins wants $50 for just their one compressor plug-in,
when I can pay $300 and get over two dozen plug-ins from Waves, including
mono and stereo versions of the digital, analog, and optical versions of
Waves's compressors, limiters, expanders, gates, duckers, and more.
Now, just multiply that by every other effect that you can imagine, and
you'll understand why the Waves bundles contain hundreds of effects. They
have dozens of delays, and it's probably obvious why, by now: one tap delay
mono, one tap delay stereo, two tap delay mono, two tap delay stereo, tape
delay (one-tap delay with added hiss and an EQ curve applied), blah blah
blah. In Sonar, the Modulator effect, in Waves world, would be separate
chorus, flanger, phaser, tremolo, auto-panner, and other effects, complete
with mono and stereo versions, and as many "analog", "modeled", and other
buzz that they can throw in. When they're finished, they can make all seem
more cool by adding one of the following to the end of each plug's name:
pro, ultimate, silver, gold, platinum, extreme, mega, classic, studio, etc.
Cakewalk has started doing this, also. The Transient Shaper is a compressor
with relabeled controls. The Tube Leveler is the same saturation stage found
in many of their other plugs, but packed up all by itself to get attention.
In most cases, these plugs are all the same, if you understand how to use
them. Unless it's missing controls, a compressor is a compressor, a chorus
is a chorus, etc. I can't fault their marketing smarts, but don't get caught
up in it.
Bryan
On May 28, 2011, at 4:50 PM, Chris Smart wrote:
*LOL* The ability of Waves to market their stuff astonishes me.
We've all seen the movie the King's Speech, maybe more than once.
And, here comes this plug-in. *LOL*
Don't forget that soon after the South Africa World Cup coverage
and those annoying swarms of vuvuzelas, Waves rushed out a special
plug-in just to filter that noise out for broadcasters. Of course,
said broadcasters probably had more than enough equalization
available already. I wonder how many copies Waves sold?
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Submitter: reply@xxxxxxxxxxxxxxx
From: "Waves Audio" <return@xxxxxxxxxxx>
To: "csmart8@xxxxxxxxx" <csmart8@xxxxxxxxx>
Date: Wed, 18 May 2011 18:36:41 +0300
Subject: Introducing Waves Abbey Road - The King's Microphones
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exclusively by the royal family for speeches on momentous
occasions, each of these three priceless microphones dating back
to the 1920s and 1930s was tailored and tuned especially for its
specific user: King George V, King George VI, and Queen Elizabeth.
Beautifully designed and decorated with gold, silver, and chrome
adornments bearing the royal coats of arms, each is a
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The King's Microphones plugin offers stunningly accurate
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