Waves Vocal Leveler

Waves Audio has a bunch of plugins designed specifically to save time in the studio when mixing vocals.

1. Waves Vocal Leveler
2. Waves Vocal Levelers

For this reason (among other reasons), they've become an industry standard, and many people know it.

Waves MaxxVolume is very useful for working with voice/dialogue, or any other uneven material that needs some leveling and loudness. I also use it on things like a percussion loop that is a bit too all over the place dynamically. Waves MaxxVolume Tips. The low level compressor is a great tool for making things louder without losing punch. It's got to be just right. Waves Vocal bundle is the ultimate vocal toolkit, made up of 7 powerful plugins, including Waves Tune for pitch correction and transformation, and DeBreath, which removes unwanted breath sounds—automatically. Seven powerful vocal plugins. Thanx for watching!

So in this guide, we'll go over the best Waves plugins for vocals….

… we've done the research so you don't have to.

Quick answer: when it comes to the plugins Waves offers for mixing vocals, there are so many, and each offer different specified features you can use.

That said, CLA Vocals from Waves Audio is sometimes referred to as the one plugin you can use for vocals if you could only choose one.

Make sure you take a look at the others below for other choices specific for what you might need. Malayalam light music songs lyrics.

Waves Vocal Leveler

Let's take a closer look 🙂

Table of Contents

• Waves Vocal Plugins Buying Guide

Find more great gear here:

Waves Vocal Plugins Buying Guide

Common Types of Vocal Effects

You might be surprised to know how much effects are applied to vocal tracks in your typical pop or rock production…

Although much ado is usually made about 'clean' and 'natural' vocals, most songs would sound pretty boring if the vocals weren't unprocessed in some way.

Compression

Compression is one of the most commonly applied vocal effects. This serves to balance out the levels in the audio, preventing the peaks from clipping the circuitry and letting softer sections be heard over the music.

Read more about how to compress vocals.

Equalization

EQ is also frequently applied in order to enhance the tonal character of the vocal. In some cases, dynamic EQ is used to reduce brightness or bottom end in some sections, while boosting the same in others.

Effects

Other effects that may be applied to vocal tracks are reverb, delay, chorusing or doubling, or even distortion or modulation effects. Unless you are going for a harsh industrial vocal delivery however, effects are best applied judiciously, and always in the service of the song.

Read more about mixing vocals.

Why You Need the Right Plug-ins for Mixing Vocals

One of the reasons why you'd need any kind of plug-in is to make certain aspects of your recording stand out above the rest. And since vocals arguably are the most important aspect of a song, it makes it easier for vocals to be heard over the instrumental background if you apply the right effects or dynamics plugin.

Effects may also be applied for creative reasons, as would be the case when going for a special effect, or treating vocals in a genre-specific manner.

Then of course, dynamics processors such as limiters and compressors are used to address specific technical concerns (ie. in order to prevent clipping or to allow of an increase in RMS levels), or for artistic or creative purposes.

Who is Waves Audio?

Not that any introduction is needed… but Waves Audio is an audio software company that makes the industry standard plugins for music production. They've worked with a number of prominent people and companies in the audio industry over the years to develop audio tools and modeled emulations of hardware processors. They were even honored with a Technical Grammy Award in 2011 for its 'contributions of outstanding technical significance' to the recording field.

However, the objective of this guide is not to 'push' Waves plugins. If you check many music production and audio engineering forums, the question as to what Waves plugins are best for vocals always arise…

To settle this once and for all, and to make it easier for those that want to know, we've put together a buying guide to instruct you on the best choice to make among Waves Audio's massive collection.

With that said, let us begin 🙂

The Best Waves Plugins for Vocals

CLA Vocals

CLA Vocals is an all-in-one vocal processing plug-in developed in collaboration Chris Lord-Alge, who is an award-winning engineer. It was designed to aid in vocal mixing using Lord-Alge's very own effects parameter settings to so that users can produce quality vocal tracks in less time that it would normally take.

Six effects are include in the chain, helping you get your vocal tracks radio-ready with less effort as compared to standard vocal processing. This of it as your 'instant Chris Lord-Alge' in a box.

Specs and useful features

• All-in-one vocal processor plug-in
• Developed in collaboration with Chris Lord-Alge
• Combines delay, reverb, and pitch modulation effects
• Tone controls for easy shaping of vocal tracks
• Multiple compression types for more control over dynamics
• Helps you achieve radio-ready sound quickly

User impressions

Like all the CLA plug-ins, CLA Vocals gets high marks from users for its sound and consistently results. For users that need polished, radio-friendly vocals quickly, this has become something of a go-to plug-in.

Although the CLA Vocals can do a great job of prettying up vocals in the majority of cases, some users found that it provides a little less control over certain parameters than they would have liked. While there is no doubt that it can provide all the sweetening that a vocal track needs most of the time, there are instances when a custom effects chain provided superior results.

Bottom-line

The CLA Vocals is pretty hard not to like, especially for its price. For perhaps 90% of all vocal-related processing applications, this could be the only plug-in you will need. For the other 10% of the time however, you might be better off rolling your own vocal processing chain using your DAW's native plugins. Even so, we can heartily recommend the CLA Vocals as a useful addition to your sonic toolbox.

Demonstration

Aphex Vintage Aural Exciter

The Aphex Vintage Aural Exciter is modeled after the original Aphex hardware processing unit. Developed in association with Aphex, the plug-in does a good job at capturing the character of the original hardware device, adding presence and brilliance to even the dullest audio. The Aphex Vintage Aural Exciter is equally suited to vocal and instrumental tracks, making them stand out in a mix without the need for excessive EQing.

Specs and useful features

• Modeled after original tube-powered hardware processor
• Developed in association with Aphex
• Adds brightness, vibrancy and depth to audio
• Increases presence without increasing levels
• Suitable for vocals as well as instrumental tracks
• Mix and AX modes for insert or send configurations

User impressions

Users that have experience with both the original Aphex hardware unit and the Aphex Vintage Aural Exciter mostly have nice things to say about the plug-in. Although it can handle most any type of audio pumped through it, the plug-in has an especially attractive quality on vocals. In fact, most users that have used the Aural Exciter for vocal processing simply refuse to mix or master a track without it, citing the wonderfully ‘present' sheen it provides.

Bottom-line

The Aphex Vintage Aural Exciter is one of those plug-ins that can be easy to overuse f you're not careful, simply because it just sounds so good. With its ability to add life and vibrancy to even the dullest tracks, it is just way too tempting to slather it all over everything, resulting in a harsh and brittle sound. If you can manage to use the plug-in in moderation, it could be quite a potent ingredient in your recipe for vocal perfection.

Demonstration

Vocal Rider

The Vocal Rider is a vocal and dialog leveling plug-in that adjusts the level of vocal tracks automatically. It has the ability to limit the dynamic range of audio without introducing artifacts, so it saves considerable time and effort in mixing down vocals and making them stand out in a mix.

The Vocal Rider also allows for the drawing of the slider adjustments into an automation track in the DAW, enabling finer control over the level.

A Live component with Spill control is also included, which detects and processes just the vocal part alone without affecting the music or background audio.

Specs and useful features

• Automatic vocal and dialog leveling
• Automation of vocal parts speeds up mixing
• Writable to automation track for fine tuning
• Real-time processing
• Zero latency and no need for pre-scanning
• Vocal Rider Live component

User impressions

If there is one thing about the Vocal Rider that makes users almost fanatical about it, simplicity would have to be it. Many users are absolutely smitten with how easy it is to automatically control vocal levels with the plug-in, citing its great value as a timesaver in the studio.

The Vocal Rider is especially popular among those that want the dynamic limiting effect of compression without the artifacts that compressors can sometimes leech into the sound. For these users, the Vocal Rider is a more transparent and natural-sounding solution that often negates the need for a separate compressor.

Bottom-line

The Vocal Rider is such an amazingly simple plug-in in concept that you have to wonder why no one else has ever thought of it before. For the price, you simply can't do better than this plug-in if you are after natural and musical volume leveling.

Demonstration

Renaissance Vox

One of the most powerful and versatile compressors in the Waves product line, the Renaissance Vox has been optimized specifically for processing vocals.

The controls you get for compression, gating and expansion, limiting, and level maximization are simple yet effect.

With this plug-in, producing polished-sounding vocals can be done with minimal effort.

Specs and useful features

• Combination compressors, gate, limiter, and level maximizer plug-in
• Soft-knee compression
• Auto make-up gain
• Gentle downward expander for gating noise
• Optimized for vocals
• Peak hold indicators for instant visual feedback on signal peaks
• Clip-Guard Output Limiter prevents clipping

User impressions

The Renaissance Vox has quite a surprising number of devotees, with lots of audio engineer forum users referring this as their go-to choice, which is all the more remarkable considering how long it has been around. The plug-in clearly appeals to those that live by the tenet: 'If it ain't broke, don't fix it!'

In any case, most of the complimentary reviews of the Renaissance Vox make mention of its utter simplicity and straightforwardness, which is especially impressive given the amount of control available. For many users, the plug-in suffices for most vocal processing applications, with the added benefit of usability for a variety of instrumental tracks.

Bottom-line

The Renaissance Vox is another time saving plug-in that makes quick work of producing polished and radio-ready vocal tracks. If there is anything negative that can be said about it, it is that it sometimes imparts a sort of metallic quality to the top end. But even this can be seen as a unique, distinctive, and not-wholly-undesirable characteristic. In any case, the Renaissance Vox is well worth adding to your plug-in tool chest, even if you already have a bunch of other compressor plug-ins.

Demonstration

Renaissance Compressor

This a multi-purpose compressor that is equally effective on individual tracks as it is on entire mixes, the Renaissance Compressor also works remarkably well on vocals.

'Warm' and 'present' are among its most defining sonic characteristics, yet it can be as transparent as you need it to be for natural vocal treatment.

Specs and useful features

• Two compression modes: Vintage Opto and modern Electro
• Internal brickwall limiting prevents clipping
• Auto Release Control (ARC) allows increase of RMS levels
• Double precision bit resolution processing
• Up to 24-bit/192kHz resolution
• Mono and stereo components

User impressions

The Renaissance Compressor seems to attract an equal number of users that praise it for its transparency and those that rave over its distinctive sonic character. Perhaps it is a testament to how versatile it is that people of seemingly different tastes and priorities keep finding uses for this venerable plug-in. As it is, this particular Waves classic is a favorite for vocal processing, but it can quickly switch roles and deliver punchy drum, bass, guitar, and piano tracks at the drop of a hat.

Bottom-line

There is a good reason why the Waves Renaissance Compressor still makes it to compressor plug-in rundowns years after it was released. Even with so many excellent plug-ins littering the market, the Renaissance Compressor still manages to command attention with its ability to be as transparent or as squashed as needed.

Now, you don't necessarily want this to be the only compressor you have in your collection, and you definitely don't want to pump all your audio tracks through it as a matter of course. But we would be lying if we said that the Renaissance Compressor didn't have a place in every studio engineer's arsenal.

Demonstration

Renaissance DeEsser

As we mentioned in the de-esser plugin guide, the Renaissance DeEsser is one of the best at reducing and eliminating the sibilant 'ess' and 'shh' sounds that can ruin a great vocal take.

Its ability to reduce unwanted high frequencies while preserving the audio quality is quite good, as it's an accurate de-essing technology can handle sibilance in male and female vocals.

Specs and useful features

• Simple and effective removal of harsh sibilance from vocal tracks
• Ideally suited for recording, mixing, live sound, and broadcast
• Frequency-dependent dynamics control preserves original sound
• Simple adaptive threshold
• Adjustable gain reduction
• Phase compensated crossover reduces artifacts
• Audio and side-chain monitoring

User impressions

Most users of the Renaissance DeEsser have nothing but good things to say about this supremely useful plug-in. Cleanliness and transparency are among its most frequently-praised characteristics, although many users also attest to its ability to nuke sibilance aggressively without thrashing the source audio.

Some users did complain about the absence of an attenuation meter. Others felt that the graph doesn't do an adequate job of displaying how much of the audio is being treated. Nevertheless, reviews are generally favorable for the Renaissance DeEsser. Many users even rely on it exclusively, even with many other de-esser plug-ins available on the market.

Bottom-line

In terms of quality, ease of use, and consistency, Renaissance DeEsser is classic Waves through and through. You simply can't beat a classic, and this one definitely fits into that category. A very effective vocal de-esser that can also work wonders on cymbals, guitars, and other high frequency tracks, the Renaissance DeEsser is an essential add on to your set of studio goodies.

Demonstration

Waves Doubler

The simply-named, Doubler adds a doubling effect to source audio, making it sound bigger, wider, and more present in a mix. This particular plug-in more too, offering delay and pitch modulation effects as well. The Doubler is both a unique effects processor and a time-saver in the studio, negating the need for traditional double-tracking in most cases.

Specs and useful features

• Double-tracking and chorus capabilities
• Adds shimmer and presence
• Produces 1980s-style harmonizing and pitch detune effects
• Automatic vocal doubling
• Two-voice and four-voice capabilities

User impressions

Ease of use and efficiency are pretty much the most mentioned characteristics of the Waves Doubler, and it's easy to see why. Making short work of turning even the most pedestrian solo vocals into angelic choirs, the Doubler is frequently praised for the ability to thicken and widen vocal tracks without introducing phasing.

Many users especially appreciate how much time they save in the studio by not having to record multiple vocal tracks. That being said, some users did feel that actually recording as many vocal takes as needed provides better results.

Bottom-line

The Doubler is a great way to add depth, width, and ambience to your vocal tracks. Although this won't substitute for a meticulously-recorded array of vocalists–or even one or two vocalists recording multiple takes–it does have some charm and flavor of its own. Besides, for the price, you not only get a very capable vocal doubler, but a distinctive sounding plug-in that widens up most any sound source nicely.

Demonstration

Final thoughts – Which to Get?

Most of these plug-ins are so different from each other that it would be pointless to say which one is the 'best.'

Suffice it to say, each one brings its own unique set of qualities to the table, and each could potentially find use in a studio setting.

That said, the CLA Vocals has to be mentioned as top choice for its convenient and extremely useful blend of multiple signal processors in one unit. There is also no denying how quickly and easily it can enable you to crank out radio-ready vocal tracks. For that reason alone, we would have to give the CLA Vocals top marks.

Both the Aphex Vintage Aural Exciter and the Vocal Rider stand in a class of their own, but for different reasons. The Aural Exciter is at the very least a modern-day classic, with its tone enhancing qualities having become essential for vocal polishing.

The Vocal Rider for its part does what most other compressors are unable to do so simply and so elegantly: control dynamic levels without adding nasty artifacts. Going solely by that, the Vocal Rider deserves special mention.

As for the Renaissance Compressor and the Renaissance Vox, both of these are quite capable plug-ins that will stand proudly with the rest of your audio processing tools. Even though they have been around for a number of years, there is life in these old dogs yet!

Finally, the Renaissance DeEsser–and certainly the Doubler–might not be quite as essential as all the other plug-ins mentioned. Nevertheless, they do have their uses, and at the price they are going for these days, it would be silly not to at least consider them if you are eager to have a full suite of vocal processing tools at your disposal.

• Software >DAW >Cubase

Vocal Rider is the first of Waves pioneering new series of Mix tools. Simply put, Vocal Rider rides. Download Update Download Demo Download Update. Supports TDM, RTAS, Audio Suite, VST, AU * PC and. Inspector Free. This one comes in a free plugin bundle with all sorts of fun mixing toys. Download MAutoPitch for Free. Throw it on your vocal and enhance it to.

Waves' ground‑breaking Vocal Rider plug‑in takes the pain out of vocal level‑automation, but if your budget can't stretch, you can get part of the way there using nothing more than Cubase 5's built-in processors.

Here's you can see some suggested settings for Expander at the centre of this month's setup. Notice that the external side‑chain input (the orange button at the top) is activated.

I was intrigued to hear about the launch of Waves' Vocal Rider vocal-level automation plug‑in, because vocal micro‑automation is a regular part of my normal mixing process; particularly intrigued, in fact, because I'd already implemented a similar scheme using Cockos Reaper's dynamic parameter modulation. So when I noticed the plug‑in's price‑tag, my low‑fat cinammon frappucino almost spurted out of my nose! I'm sure that Waves' boffins have put some very whizzy technology under Vocal Rider's bonnet, but there's just something in me that rebels against parting with the cost of curry for 12 in return for something that simply adjusts gain, especially when I'm already pretty happy with my home‑brew alternative.

If you're wondering what the hell any of this has to do with Cubase, well, I'm also a Cubase user and, spurred on by memories of frappucino catastrophe, I recently began wondering if it would be possible to implement a similar automatic vocal‑riding scheme in Cubase too. and it turns out that it is! So here's how you do it.

Vocal Rider Vst Free Download

Automatic Vocal Riding Basics

In order to get the lead‑vocal Expander to respond to the backing track, you need to send to the plug‑in's side‑chain input. You can see roughly what it should look like in the drop‑down Send menu here.

In case you don't see the point of riding vocal levels, the basic concept is this: even if you compress a vocal heavily, its subjective level will nonetheless appear somewhat inconsistent because the backing track will mask the vocal more the louder it gets, and the amount of masking will change rapidly from moment to moment; a loud drum hit will mask the vocal more than a quieter acoustic‑guitar strum, perhaps. Because of this, a lot of effort goes into the micro‑automation of vocal levels in professional productions, and if you want to compete on that level, you can't afford to ignore the issue.

However, there is a way to take the sting out of this frequently tedious job, and that is to set up some processing that monitors the level of the backing track and then applies corresponding gain changes to the vocal track to compensate for the masking effects. In Cubase, the trick to managing this is to send signal from your lead‑vocal channel to a Group Channel with the VST3‑format Expander plug‑in inserted, and then configure that plug‑in to respond (via its side‑chain) to the level of the backing track. Once this is operational, you can mix in the expanded vocal signal alongside the unexpanded one to achieve the desired degree of automatic gain‑riding. When that loud drum hit comes along, the expander responds to it by letting more of the lead vocal through, thereby boosting the overall level of the vocal in the mix for that instant and defeating some of the drum's masking effect.

The Basic Setup

The final, refined setup: group channels for lead‑vocal and backing‑track signals, and another to enable equalisation of the lead‑vocal Expander's side‑chain signal.

Right, let's get onto the specifics. First of all, right‑click in the Track List and select Add Group Channel Track. To start with, you'll want two stereo ones, so adjust the pop‑up dialogue box accordingly. Label these two LeadVocal and BackingTrack, and then reassign all the tracks in your song, with the exception of your lead vocal, to the latter group channel track. You can save time by doing this in bulk: highlight a series of tracks and then hold down the Shift key while you select the required destination from the Inspector's top pane. To feed the LeadVocal group channel, select it from the lead‑vocal track's Sends menu, switching on the send and Control‑clicking its little fader to set it to unity gain (0.0dB).

Now pop Cubase's VST3‑format Expander plug‑in into the LeadVocal channel's top Insert slot, and set it up as shown in the screenshot above. It's a bit of an unusual‑looking setting, because it's a very fast‑acting and with a maximum threshold, so on its own it sounds rather odd and stuttery. However, you'll never hear it on its own, so this is not really a concern — it's what the expanded signal does in combination with unexpanded lead vocal that matters. Note that the Activate Side‑chain switch at the top of the plug‑in window is selected (lit orange), to show that the plug‑in is expecting an external side‑chain signal.

The next stage is to create a Send on the BackingTrack channel, routed to the Expander's side‑chain input. You're looking for something like 'Side‑chains — LeadVocal: Ins. 1 — Expander' in the Send's drop‑down menu. Again, make sure the send is switched on and set to unity gain. And that's it. If you now play back your mix, the vocal should hold a more consistent subjective level against the backing track.

Refining The Outcome

Here are some suggested EQ settings for the lead‑vocal Expander's side‑chain signal. The processing needs to be applied to the DetectorEQ group channel in this month's setup.

As with a lot of mixing techniques, there's a fair bit you can do to refine the settings to achieve the best results. Indeed, the Waves plug‑in has a number of variable parameters as well, for this very reason. First of all, you'll almost certainly find that the additional vocal signal from the Expander track makes your overall lead‑vocal level appear too high. This is simply dealt with using your lead‑vocal track's fader, as you'd normally do — no need to tamper with any of the LeadVocal or BackingTrack group channel settings. The Vocal Rider plug‑in's output level fader serves a similar purpose.

Even with the vocal at the right overall level, you might feel that my suggested start‑up Expander plug‑in settings don't give the right amount of gain‑riding for you. Torrent ita download. Adjusting the level of the LeadVocal group channel helps here: the higher in level this is, the greater the range of the level riding. Bear in mind, though, that this will also affect the perceived overall level of the lead vocal in the track, so you may need to revisit your main vocal‑channel fader setting in tandem. If you're feeling confident, you could even adjust the response of the Expander, perhaps increasing the ratio for more extreme compensation, or tinkering with soft‑knee mode or Attack/Release/Analysis settings for a smoother outcome. These kinds of changes will give you some of the control you get from Vocal Rider's Vocal/Music Sensitivity controls, Fast/Slow switch, and Range sliders.

Apparently, Vocal Rider also automatically ignores background noise between vocal phrases, to prevent the plug‑in from riding this, and you can simulate that in this setup if you like, too: chuck a suitably configured Gate into an insert slot on the LeadVocal group channel, preferably before the Expander in the chain and triggered from the vocal signal, not the backing track. Finally, if you want to automate the vocal level manually, in addition to the automatic process, just ride your lead‑vocal fader as normal.

Bonus Points!

So far, we've primarily been offering Waves the sincerest form of flattery. However, because we've built our setup from first principles, we actually have some additional processing potential here: we can EQ the feed to the Expander's side‑chain input. Why would we want to do this? Well, if you think about it, the low frequencies of a bass sound are unlikely to mask a vocal as much as an electric guitar with lots of energy in the very 1‑5kHz range that's most important to vocal intelligibility, which means that EQ'ing the Expander's detector signal to reduce low frequencies and increase the 1‑5kHz range can help improve the subjective musicality of the automatic level‑riding. I'm guessing that Waves are already doing something akin to this within the code of Vocal Rider, but they don't give any control over it either way, whereas we can have full control of such an EQ if we refine our existing setup a little.

Waves Vocal Levelers

Adobe acrobat distiller for windows 7. Browser • These requirements apply to the Acrobat Pro DC subscription plan, and are in addition to the desktop requirements listed above • Microsoft Windows 10 using Internet Explorer 11, Firefox, or Chrome • Microsoft Windows 8 using Internet Explorer 10 or later, Firefox, or Chrome • Microsoft Windows 7 using Internet Explorer 8 or later, Firefox, or Chrome • Microsoft Windows Vista using Internet Explorer 8 or 9, Firefox, or Chrome • Mac OS X v10.10 or later using Safari 8 or later, Firefox, or Chrome.

This is what we need to do. Create another group channel called DetectorEQ. It might as well be mono too, come to think of it, as this will give more preference to centrally panned backing‑track signals, which are also more likely to mask a typical lead vocal. Now reassign the BackingTrack group channel's send (it's feeding the Expander's side‑chain at the moment, if you recall) and route it to the DetectorEQ group channel instead. Then use the top pane of the DetectorEQ group channel's Inspector to assign its output to the Expander's side‑chain, in place of the default assignment (usually to Cubase's main mix buss). You can now EQ the side‑chain signal using the DetectorEQ channel's built‑in EQ. Check out the suggested settings shown in the screenshot on the left, and work from there.

Smell the curry.

Download Examples

Mike has prepared audio examples and a Cubase project file to accompany this article. You can download them from /sos/jun10/articles/cubasetechmedia.htm)

Getting the Perfect Vocal Mix Has Never Been Easier!

Waves Vocal Rider plug-in makes vocal processing easier than ever before. The name says it all! Vocal Rider is designed to simply match your vocal tracks to the rest of the mix, maintaining a relative volume throughout the song. All you do is instantiate it on your vocal track, bus a summed instrumental mix to the side-chain, and hit play. Then kick back and watch as Vocal Rider's fader takes over, keeping the relative volume of the vocals consistent with the volume of the rest of the mix. When you mix with Vocal Rider, perfection is never far away.

Waves Vocal Rider Plugin

• Intelligent adjustment that preserves the dynamics of your music
• Save time achieving the automation you would otherwise have to program manually
• Writes automatic volume adjustments as track automation for future fine tuning

Every day, even the best engineers struggle to find the perfect balance between enough and too much compression. You need to use some compression, but how much? The textbook way to address this is to use just enough compression to smooth out the tone, but not so much that you crush the life out of your music. Then you take the mildly compressed audio and use automation to preserve the dynamic range. Waves knows that this takes a great deal of diligence, and sometimes even professional engineers end up cutting corners and smothering the dynamic range of their vocals. That's where Vocal Rider comes in. Unlike conventional compression, Vocal Rider doesn't reduce the dynamic range of your tracks or color them at all. This is extremely useful when you consider the further uses of Vocal Rider as a tool for leveling out ungainly instrument tracks - like bass - that become completely incoherent if compressed too much.

Don't throw out your compressors just yet! Some compression is absolutely necessary to achieve the smooth, polished, and professional-quality vocals found in most modern music. That's why it's so important Waves made sure that Vocal Rider responds to audio, and doesn't just look at the recorded track's wave form. By 'listening' to the incoming signal including those processors instantiated ahead of itself, Vocal Rider lets you add the right touch of compression before it takes control of the automation. That means you don't have to commit to the amount of compression by bouncing down the vocal track before using Vocal Rider to level out the volume. And since you would need to automate your compressed (but not crushed) vocals by hand normally, Vocal Rider acts as a sort of assistant by saving you time by getting the results you need quickly.

Joe my name is joe album. With Vocal Rider, you get the best of both worlds - a hands-off automation tool, and the ability to fine tune the results. Unlike most dynamics plug-ins that respond to track automation, Vocal Ride writes automation. Once you have made all of the basic adjustments to your mix and you've achieved the general balance you want, you can write Vocal Rider's automatic volume adjustments as track automation. That way you can make fine adjustments by hand, giving you all of the control of conventional automation, while still benefiting from Vocal Rider's time-saving ease of use.

• Automatically maintains the balance between your vocals and instruments
• Saves you time by getting the results you need quickly
• Preserves dynamics while controlling track volume
• Writes automation for fine tuning