hey what's going on out there i'm sean divine if you wanna sound like
this stay tuned cause it's real time and it's
live and i'm going off the top of my mind
all right so we're going to be designing the ultimate tracking template today
utilizing the new version of waves studiorack
which there is so much powerful stuff packed in here
that cater itself extremely well to getting the best performances
and really inspiring the artists or yourself
to hear themselves in a you know mixed polished light
so you'll see i've already got waves tune real time a gate a compressor
eq as well as sibilance live which this is a live version of sibilance
allows us to maintain zero latency so you'll see with this
chain right now we have a whopping zero milliseconds of
latency when we're monitoring which is really crucial when we're tracking
so the other thing that i want to talk about today that we're going to set up
are some macro controls now whether you're an engineer
or you're an artist or you're recording yourself
you can set these up so that in the process you're not having to you know
reach into the plugins and really you know reinvent the wheel and
dial in completely new settings you can just set up some quick controls
here that can be mapped to multiple parameters so i'm going to show you how
that works here and we're also going to dial in the
parallel split which is an incredible new feature here
in studiorack that opens it up to be able to do things
like reverb and delay auxes and other parallel processing chains
without even utilizing sends auxes and buses in the daws
you know i've been putting in overtime
so let's go ahead and start setting up some macros here for this preset
i'm going to just go ahead and open up a waves tune real-time and what we'll do
here is i'm just going to go to assign and
we'll click one and i'm going to map this to speed and
note transition so when i move this macro now
we'll be able to control both of those at the same time
and if you want you know more of a natural sound while you're tracking
you can slow that speed down just to give it less of a
robotic sort of effect so you'll notice with the macro setup this way it kind of
makes more sense that the speed would be the other way
around so all i need to do here is just go to edit and then we're just
going to swap the min and max for both of those so that way if the
speed is here that means it's slower if it's all the
way up then the speed is as fast as it'll go
so then let's map control 2 to the correction percentage which this will
allow you to get more of a a natural sort of effect maybe
you're working with a singer who doesn't want to have
you know the really heavy correction or you're working with a rapper who's gonna
want complete correction so we'll go ahead
and map that and then let's go ahead and go back to
the edit menu and let's set our min max controls
for that to let's say 50 which means that we're
going to be blending half the dry signal and then half
corrected and then let's swap the min and max this is 100 correction and this
is going to give us a more natural sound so we'll call this control naturalize so
you see you can get creative with how you're mapping these things in a way
that's very personal to how you're going to be
tracking drifting further every day is a new way
and maybe we'll find out one day next let's open up the compressor i'm
using the c1 because there's no latency with this compressor which by the way in
studiorack if you click the plug-in slot you can see not only the total rack
latency down here but also the individual
plug-in latency so you can see that the c1 is causing no delay
whatsoever however this compressor particularly
does not have a auto makeup gain so some of the other
waves plug-ins do so the great thing with the macros is it
just breaks open the potential so what we'll do is i'll use macro 3
and we're going to assign this to both the threshold
so as we bring that threshold down obviously we're going to get more
compression but we don't necessarily want our level
to get a lot lower in terms of tracking because we want to still be able to hear
ourselves so we'll do the threshold and we'll also
map it to the makeup gain so as i bring down the threshold you see
that the makeup gain is going down so that's actually the opposite of what we
want to do we want to introduce more compression
and have the makeup game come up so it's acting as an auto makeup gain
so all we need to do there is just once again go to edit macro
and we're gonna swap the makeup gain and then we're not gonna need you know
this much makeup gain so let's just say the min
makeup gain is gonna be zero and the max let's just say
is going to be 30. and then for the threshold
let's just say wherever it was where we're getting just a little bit of
compression kind of where that starts engaging is at
like minus 25 and then on the max we'll put say let's
just move this down and see so if we're getting like 12 db of
compression that's quite a lot so that would be the max more
compression we're getting the makeup gain so you hear our level is
staying pretty consistent we're actually coming up a little bit
and we're getting some compression and we'll call this
auto comp to the next stage or the next phase with good people by
your side telling you what makes you feel so alive
all right let's dial in some tone controls here with veq4
i'm gonna go ahead and map this one of course to our trusty high frequency
gain performers are gonna want some air sometimes
and just a little bit brighter sound and then i'm also going to
do a multiple assignment here on both the low mid frequency as well as
high mid frequency so you see that i have this dialed in at
1000 and 3.3 k which these tend to be kind of the
harsher frequencies you're going to hear in just a second
when i boost this this mic tends to have a little bit of an exaggerated mid
section so these are just convenient to be able to reach for so we'll do
assignment 5 and we're gonna click low mid
frequency and high mid frequency so now when we
move that macro it will control both of those so you can
see when i bump that up get some more uh harsh there so we'll
just bring that back and we'll call this harshness which
brings us to the most exciting thing here which is
the parallel split mode so if i click the
parallel split what we're going to do is just dial in a
reverb a delay and maybe something fun like a
a chorus effect or a doubler so let's go ahead and we'll turn on two
and we're going to turn that down because right now it's just acting as a
parallel chain and we'll go ahead and put on r verb and
then we can mix that in accordingly so you see with this
fader here on this parallel split rack it acts just
like a send or a bus and an aux would in the daw
but i didn't even have to set that up we could do that all within this one
preset in studio rack and then now what i'm going to do is i'm
going to go ahead and add another c1 the cool
thing about this is now in studiorack we can activate a
lot of the waves plug-ins in side-chain mode
and use the internal signal from studio rack as the key input
so if i turn that on then we can now use that to actually duck the reverb and
we're going to do that on our delay as well which is very very powerful
so let's just turn the ratio up quite a bit here
and i'm going to turn the release up so you hear
as i'm speaking or whenever i'm singing or wrapping it's just going to duck that
reverb so that the vocal can really cut through
and then we still get that nice tail okay so let's do the same thing with the
delay just hit the plus there and go to the h delay
and i'll turn this down down and make a couple of adjustments here
and then i'm just going to copy that c1 over
so we'll even bring that down a little bit more more
just so that it's uh ducking quite a bit we got a ducking delay right there just
using the internal signal from studiorack as the side
chain i'll bring the reverb up a little bit and i'm going to turn the
delay in the reverb off for now and let's go ahead and let's add something
like a doubler just so that we can blend this in so we
can give it more of a 3d you know fun wide sound so i've got a preset that i
like to use on the doubler already so we'll open that up and then
we can blend that in and we get something like this so we get
a nice chorusing effect and you're also going to notice that we
have width controls on each of the parallel split slots
so if i wanted to you know fold that doubler signal down to mono
you know just have something to kind of thicken the sound i can do that or we
can take it all the way you know beyond the stereo field or the
normal stereo field and make it wider and so we can get something really nice
there so we'll just blend that in and yeah i think we got something pretty
cool here y'all so last thing let me go ahead and map these
parameters i'm going to map the reverb mix
we'll map 7 to the delay mix and then finally we'll map the doubler
mix i'm going to turn my tune speed all the way up
i'm going to turn naturalize down i happen to like the sound of waves to
real time all right let's go let's see
drifting further every day is a new way and maybe we'll find out one day
what it means to say goodbye or hi to the next stage or the next
phase with good people by your side telling you what makes you feel so alive
it's so obvious that you've been ignoring your
knowledge it's deep down inside your consciousness
and that could only come from high up above
love rising tides rolling keep feeling no folding twin aces
in the pocket i caught it on the river and did you consider that this is bigger
than me and you?