Waves JJP Artist Signature Collection
and stereo formats, and Bass and Drums are
also in mono. Of the mono-to-stereo plug-ins, all
but the vocal and bass tools have a pan control.
Six-pack
The processing techniques encapsulated in
these plug-ins must suit JJP’s own working
methods, which he’s honed over two decades
of mixing. So, let’s summarise his aims. Drums is
speciically for kick, snare and tom processing.
With options including Attack, Wood and
Length, the goal is snap and weight in equal
measure. Cymbals & Percussion ofers Punch,
adding tight compression; Attitude for mid-range
grit; and Amb (ambience) for high-end sparkle.
Bass has synth and bass guitar options to deliver
edgy mid-range (Edge and Attack) and rounded
bottom (Sub). Guitars is better suited to rockin’
electric tones than acoustic guitars. That said,
the combination of Drive (Edge), EQ (Warm and
Presence) and Width (Doubler and Verb) makes
it a very lexible plug-in. Strings & Keys aims to
deliver the width, space and radiance that’s
desirable on synths, strings and piano. Finally,
Vocals includes the tools needed to help the
vocal sit, and includes De-esser, Delay (Space)
and enhanced Reverb (Magic) with two male
and one female types.
Puig power
When using the plug-ins, it’s clear that there’s
lots going on under the hood that you simply
cannot change, and that lots of decisions have
been made for you. However, the parallel nature
of the signal low means that you can mute all
elements and listen to the processing one fader
at a time, which is particularly illuminating given
the stylised labelling. Some option names are
descriptive enough that you’ll quickly grasp
what they do (Wood for snare drums, say) but
some less so. Solo listening establishes that
Vocals’ Space setting is a short stereo slapback
delay combined with a tempo-synced echo, and
Magic is a preset-dependent enhanced reverb.
However, understanding the inner workings
isn’t the best way to approach these plug-ins. We
had most success when iring one up, selecting
the appropriate instrument type and simply
going to work. This worked particularly well
with the Drums plug-in as the presets are so
clear-cut, and adding attack, decay and presence
are very typical processes. However, we struggled
to get the right piano sound using the piano
setting in Strings & Keys, as we couldn’t adjust
the EQ accurately enough.
In some areas, we found the processing to be
far more lexible than might be expected, such
as with the Bass and Guitars plug-ins. Elsewhere,
we found the processes ofered by the central
faders subtler and harder to distinguish – eg, the
four options in Cymbals & Percussion. We were
very impressed by the responsive metering,
though an overall gain reduction option would
have been a great addition.
Overall, the cleverly combined processing
works best when taking already good sounds
to the next level. However, if you want to make
detailed changes, you may be frustrated and
end up using typical mixing plug-ins instead.
You may ind the eye-popping, candy-coloured
livery a bit too much for an early morning or late
night session, too. Grumbles aside, this bundle
is reasonably priced (well, for a six-plug-in
Waves package) and ofers quick, refreshingly
simple tools that cleverly disguise complex
underlying processing.
Web www.waves.com
Contact Sonic Distribution, 0845 500 2 500
Verdict
For Instant gratiication
Surprisingly lexible at times
Excellent Drums plug-in
Responsive metering
Against No gain reduction metering
Strings & Keys is hit and miss
Lack of in-depth control will annoy some
The Signature Collection concept is one
you’ll love or hate, but there’s no denying
the quality of the plug-ins themselves
Alternatively
Waves Tony Maserati Collection
140 >> 8/10 >> £646
Same concept, diferent producer.
This one has more of an urban slant
Toontrack EZmix
153 >> 7/10 >> £45
If you want it even easier, try this
‘black box’ approach to mixing
When mixing, a typical processing
chain might involve EQ, compression
and further dynamics such as gating or
de-essing. The chances are you would
then add efects such as auxiliary
reverb and delay, and possibly split the
channel to use further fancy tricks like
parallel compression.
To provide a one-stop solution in a
single plug-in, Waves have used both
serial and parallel signal processing.
Given the ‘black box’ nature of the
plug-ins included in the Signature
Collections, it’s arguable that there’s
no great advantage in knowing how
the processing is carried out. However,
the manuals clearly indicate how it
works, and it’s standard across the lot.
If nothing else, it at least partly satisies
our gnawing curiosity.
First up, the input signal is processed
via the left-hand panel processors in
series: compression, EQ and
occasionally a little something extra.
This signal is then fed via the main
level fader to the master output fader.
A pre-main fader split is then sent to
the centre section processors, like an
auxiliary send, and you blend these in
using the faders. Rounding things of,
you also get mutes for these as well
as the main level fader. The concept
is basically that of a mixer for sonic
attributes. Now you know!
Wait for the signal
The Vocals processor is relatively restrained in its
appearance, though it’s just as vibrant in the mix
“When using the
plug-ins, it’s clear that
there’s lots going on
that you simply
cannot change”
The four red central faders are essentially auxiliary returns for under-the-hood efects chains
Autumn 2010 / / 111
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