WAVES
CODEX
USER GUIDE
2
TABLE OF CONTENTS
CHAPTER 1 – INTRODUCTION........................................................................................ 3
1.1 Welcome ................................................................................................................... 3
1.2 Product Overview ..................................................................................................... 3
1.3 Concepts and Terminology ....................................................................................... 3
1.4 Components .............................................................................................................. 4
CHAPTER 2 – QUICK START GUID E .............................................................................. 5
CHAPTER 3 – INTERFACE AND CONTROLS ................................................................ 6
3.1 Interface ................................................................................................................... 6
3.2 Controls .................................................................................................................... 7
CHAPTER 4 – ST ANDALONE APPLICAT ION .............................................................. 21
CHAPTER 5 – THE WAVESYSTE M ............................................................................... 23
5.1 The WaveSystem Toolbar ...................................................................................... 23
5.2 Preset Handling ...................................................................................................... 23
5.3 Interface Controls ................................................................................................... 27
5.4 Waves Preferences (Pro Tools only)...................................................................... 29
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CHAPTER 1 – INTRODUCTION
1.1 Welcome
Thank you for choosing Waves! I n order to get the most out of your Waves processor,
please take the tim e to read through this m anual.
In conjunction, we also suggest that you become familiar with www.wavesupport.net
There you will find an extens ive Answe r B ase , the latest Tech Specs, detailed
Installation guides, new Software Updates, and current information on Licensing and
Registration.
By signing up at www.wavesupport.net, you will receive personalized information on
your registered products, reminders when updates are available, and information on
your licensing status.
.
1.2 Product Overview
Waves CODEX is an advanced polyphonic granular wavetable synthesizer designed to
provide complex evolving sounds that can range from acoustic and analog emulations,
to complet ely new, previously unhear d s ounds . CO DE X’s c ontrols are highly inviting,
combining tradition with intuitive interaction in a way that lets users easily customize
existi ng pres ets and build c us tom patc hes from the gr ound up. The unique wavetable
oscillators are embedded in a subtractive synthesis engine that allows further shaping of
the sound using traditional analog subtractive components and layout.
1.3 Concepts and Terminology
CODEX is powered by Virtual Voltage™ technology, which connects its various
generators and transformation filters, envelopes and modulators. CODEX therefore us es
many of the same terms used by its hardware forerunners: VCF (Voltage-Controlled
Filter) , VCA (Voltage-Controlled Amplifier), and so on.
While anyone acquainted with synthesis should feel right at home with the subtractive
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section of CODEX, the advanced oscillators might at first seem daunting. Please browse
through the oscillator section of this manual to become better acquainted with the unique
features and vast possibilities of CODEX’s oscillators. The learning curve will pay off
when encounter ing other s ynthes iz er s , whether softwar e or hardware, analog or digital.
All users can partake in the instant gratification of CODEX’s v ast selection of factory
presets. CODEX’s team of experienced preset developers created hundreds of presets,
sorted by category, so you can quickly find the exact sound you need—leads , pads ,
basses, sound effects, sequences, gated rhythmic lines, motions, and more. Or just
brows e around unt il s om ething catc hes your ear and c aptures your im agination.
Whether in the studio or live on stage, many musicians like to control their synth
parameters in real time for enhanced creativity and expression. While CODEX supports
the basic automation features of plugin hosting technologies such as VST, it also
supports MI DI Learn. Assigning a CODEX control to a knob on your M IDI controller is as
easy as right-click > Learn > knob turn, done!
Granular wavetable synthesis, analog modeling, and supreme sound quality do come at
a price. CODEX can be rather CPU- and RAM-hungry compared to other software
synthesizers. During the days of analog hardware, less expensive oscillators were often
considered “dirty,” while accurate oscillators were costlier than was practical for most
mus ic ians . Ir onic ally, in today’s digital w orld, creat ing a pristine oscillator is relatively
easy; it’s the “dirtiness” that takes more CPU calculations to recreate. To conserve CPU
power, CODEX lets you select the maximal number of simultaneous voices.
1.4 Components
CODEX has one component: CODEX Stereo.
CODEX is a virtual ins trument plugin and will appear under the related selec t ion m enus
for virtual instruments under all supported DAW host applications.
Waves CODEX also works as a standalone application, using ASIO (Windows) or Core
Audio (Mac) drivers to play through your audio devic e of choic e. CO D EX rec eives MIDI
data to trigger notes and control changes.
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CHAPTER 2 – QUICK START GUIDE
Open CODEX on an instrument track in your DAW of choice, or launch the CODEX
st andalone applic ation.
1. Select a preset from CODEX’s factory presets.
2. Play!
Use the next/previous preset arrow controls on the toolbar
to scroll through
presets. If you’re looking for a certain type of sound, click the load button to reveal the
factory presets, sorted by category.
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CHAPTER 3 – INTERFACE AND CONTROLS
3.1 I nt erface
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3.2 Cont rols
The CODEX interface is arranged into four sections grouped according to function:
• Voice generation and s ubtr ac tive elements (blue)
• M odulation sources and patches (purple)
• Effects, EQ, global and output sections (green)
• Arpeggiator/s equencer ( red)
3.2.1 Oscillators
CODEX has two wavetable oscillators which are labeled 1 and 2.
OCTAVE determines the pitch range.
Range: 32, 16, 8, 4, 2 (from lowest to highest pitch)
TUNE determines the pitch.
Range: -12 to +12 semitones
FINE fine-tunes the pitch.
Range: -100 to +100 cents
RESOLUTION determines the resolution of the oscillator.
Range: 0 to 100
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TABLE selects one of 64 internal or imported wavetables.
Range: 1 to 64
WAVE selects a specific section of the wavetable to be used as the oscillator.
Range: 0 to 10
FORMANT controls the formant of the oscillator by altering the spectral peaks of the
sound spectrum.
Range: -100 to 100
START determines the start point of the wavetable scan.
Range: 1 to 64
MID determines the midpoint of the wavetable scan.
Range: 1 to 64
END determines the endpoint of the wavetable scan.
Range: 1 to 64
SPEED determines the w avetable scanning speed.
Range: 0 to 100 (free-running), 4/1 to 1/32 (synched)
SCAN SYNC determines whether the wavetable scanning is synchronized to the host
clock.
LOOP – When enabled, wavetable scanning loops continuously between ‘MID’ and
‘END’ points .
IMPORT allows the integration of user-selectable WA V files. Imported WAV files are
automatically converted into wavetables by CODEX. These new wavetables are saved
along with presets. CODEX supports WAV files of any length, bit-depth and s am pling
frequenc y. For optimal results, samples of between one and five seconds are
recommended.
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FC enables CODEX’s advanced formant correction algorithms.
When enabled, formant can be controlled using the ‘FRMNT’ knob.
OSC SYNC synchronizes the triggering of the OSC 2 waveform to the rate of OSC 1.
When activated, OSC 2 pitch controls affect only the timbre of OSC 2, not its pitch.
Range: On/Off
FM (Frequency M odulation) controls the amount by which the frequency of OSC 2 is
modulated by OSC 1. (OSC 2 only)
Range: 0 to 100
3.2. 2 Addition al Oscillators & Mix Section
This section is used to combine OSC 1 and OSC 2, and to add noise, sub-oscillation and
ring m odulation.
SUB m ixes in a tri angle wave one octave below OSC 1.
Range: 0 to 100
NOISE mixes in white noise.
Range: 0 to 100
RING controls the ring modulation of OSC 1 and OSC 2.
Range: 0 to 100
OSC 1 / OSC 2 activate each oscillator.
Range: In/Out
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MIX balances the mix between OSC 1 and OSC 2.
Range: -50 to +50
MONO toggles between monophonic and polyphonic modes.
Range: On (mono) / Off (polyphonic)
RTRG controls envelope re-trigger ing. W hen ac tivated, ever y note res tar ts the
envelopes. (Mono mode only)
Range: On/Off
UNISON activates a doubling effect which creates a richer sound.
Range: On/Off
PORT determines the glide time (portamento) between notes.
Range: 0.5 to 2500 ms (0 to 2.5 seconds)
ALWAYS/LEGATO determines whether glide will occur always, or only when the
previous note is still held.
Range: Legato, Always
3.2.3 Voltage Controlled Filter (VCF)
The VCF section includes selectable filter slope, frequency and resonance parameters
as well as a filter envelope which determines the filter movement on each trigger.
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TYPE determines the filter type.
Range: High Pass, Low Pass, Band Pass, Band Reject
SLOPE toggles between two types of pole filters.
Range: 2-pole/12 dB per octave, 4-pole/24 dB per octave
CUTOFF controls the VCF cutoff frequency.
Range: 0 to 100 (20 Hz to 20 kHz)
RES controls the amount of filter resonance.
Range: 0 to 100
ENV determines the envelope’s cutoff modulation depth.
Range: -100 to 100
KBD controls keyboard tracking using C3 as its reference point.
Range: 0 to 100
FM controls the amount of frequency modulation on filter cutoff by OSC 1.
Range: 0 – 100
ADSR determines the filter’s envelope cutoff behavior after a note is triggered:
A (Attack): 1 to 10,000 (1 millisecond to 10 seconds)
D (Decay): 1 to 10,000 (1 millisecond to 10 seconds)
S (Sustain): 0% to 100% amplitude
R (Release): 1 to 10,000 (1 millisecond to 10 seconds)
At 0, time constants are linear; at positive values, the envelope slopes become more
concave (below, in black), for a punchier response. Negative values result in a more
convex slope shape, for smoother response (below, in red.)
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VEL sets the VCF c utoff in relation to the Note On veloc ity.
Range: 0 to 100
SHAPE determines the contour of the envelope time constants.
Range: -50 to 50
3.2.4 Voltage Controlled Amplifier (VCA)
The VCA envelope controls the note level from trigger to release:
A (Attack): 1 to 10,000 (1 millisecond to 10 seconds)
D (Decay): 1 to 10,000 (1 millisecond to 10 seconds)
S (Sustain): 0% to 100% amplitude
R (Release): 1 to 10,000 (1 millisecond to 10 seconds)
VEL sets the envelope depth in relation to the Note On velocity.
Range: 0 to 100
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SHAPE determines the contour of the envelope time constants.
Range: -50 to 50
PUNCH controls the dynamic transient enhancer which makes for a “snappier’ attack.
Range: On/Off
3.2. 5 Low-Frequency Oscillators (LFOS)
CODEX features four LFOs: two free and two synchronized. The free LFOs have a
continuous cycle time control, while the synched LFOs are voice-triggered and use
musical note values (based on the host BPM) to determine the oscillation rate.
TYPE controls the LFO waveform shape.
Range: Sine, Saw Down, Saw Up, Triangle, Pulse, S&H (random)
RATE cont rols the frequenc y of the fr ee LFO .
Range: 0.1 to 100 Hz
TIME controls the rate of the synched LFO, locked to the project’s BPM.
Range: 4/1, 3/1, 2/1, 1/1, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/ 16, 3/64,
1/24, 1/32
LED pulsates at the same rate as the LFO.
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3.2. 6 Envelope 3
In addition to the filter and the VCA envelopes, CODEX includes an envelope generator
that c an be freely as s igned to s elec table destinations via the modulation matrix.
A (Attack): 1 to 10,000 (1 millisecond to 10 seconds)
D (Decay): 1 to 10,000 (1 millisecond to 10 seconds)
S (Sustain): 0% to 100% amplitude
R (Release): 1 to 10,000 (1 millisecond to 10 seconds)
VEL sets the envelope depth in relation to the Note O n velocity.
Range: 0 to 100
SHAPE determines the contour of the envelope time constants.
Range: -50 to 50
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3.2.7 Modulation Matrix
The M odulation Matrix allows the patching of modulation sources to selectable
destinations.
PHASE inverts the phase, per assignment. Depending on the phase setting, this will
change the direction of the modulation.
Range: On/Off
SRC determines the modulation source.
Range: LFO1, LFO2, LFO3, LFO4, Env3, Modwheel, Keyboard, V elocity,
Aftertouc h, Bender , VCF Envelope, Sequenc er
DEST deter m ines the des tinat ion of the modulation s our c e.
Range: Global Pitch, OSC 1 Freq, OSC 1 Resolution, OSC 1 Formant, OSC 1
Table, Scan 1 Start, Scan 1 Mid, Scan 1 End, Scan 1 Speed, OSC 2 Freq, OSC
2 Resolution, OSC 2 Formant, OSC 2 Table, Scan 2 Start, Scan 2 Mid, Scan 2
End, Scan 2 Speed, OSC 2 FM, Sub, Noise, Ring, OSC Mix, VCF Cutoff, VCF
Res, VCF FM, VCF Env, VC F A, VC F D, VCF R, VCF C rv, VCA, VCA A, VCA D,
VCA R, VCA Crv, Pan, HP, LP, Dist, Crusher, Chorus, Delay Mix, Delay Rate,
Reverb, Porta, LFO 1 Rate, LFO 2 Rate, LFO 3 Rate, LFO 4 Rate, Env3 A, Env3
D, Env3 S, Env3 R, Env3 Crv, Arp/Seq Rate, Arp\Seq Gate, Mod 1, Mod 2, Mod
3, M od 4, Mod 5, Mod 6
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MOD sets the degree to which the m odulation s ource affects the destination.
Range: 0% to 100%
3.2. 8 Arpeggi ator / S equ en cer ( ARP/SEQ )
The ARP/SEQ section functions both as a traditional arpeggiator and as a 16-step
sequencer. Each sequencer step has an In/Out toggle as well as a pitch control which
may be set +/-24 semitones from the currently held note.
MODE determines the operational mode.
Range: Off, (Arp) Up, (Arp) Down, (Arp) Up/Down, (Arp) Random, Sequence
OCT determines the range, in octaves, of the arpeggiator.
Range: 1, 2, 3, 4
RATE sets the arpeggiator rate. The drop-down menu activates the host BPM sync
function and sets the rate using note values. When the rate is set to Free, the host BPM
sync is off and the rate is set manually using the knob on the right.
Range: Free (host BPM sync off; range 1 to 50 Hz),
1/2, 3/ 8, 1/3, 1/4, 3/16, 1/6,
1/8, 3/32, 1/12, 1/16, 3/64, 1/24, 1/32
GATE determines the length of each sequencer step as a percentage of its note length.
Range: 5% to 100%
STEPS determines the number of steps in the current sequence.
Range: 1 to 16
HOLD enables latching of arpeggiator and sequencer notes after the keys are released.
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RTRG enables re-triggering of arpeggiator and sequencer notes when new notes are
played.
SWING pushes even-numbered notes/steps toward the next odd-numbered note/step, to
create a shuffle/swing feel.
Range: 0 to 100
3.2.9 Effects (FX)
DIST controls the amount of distortion effect. Distortion is applied per voice, eliminating
IMD (inter -modulation distortion.) Settings below 50% create a warm, saturated drive
effect; settings above 50% result in a more aggressive, “crunchier” sound.
Range: 0% to 100%
PRE VCF is a toggle control which determines the placement of the distortion effect in
the signal path, either pre-VCF or post-VCF.
Range: Pre/Post
CRSHR is a distortion-like effec t which simulates a reduction in the sample-rate and
resolution of the sound.
Range: 0 to 100
DELAY is a stereo delay which allows separate delay times for left and right channels,
using note values.
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LEFT sets the delay time for the left channel.
Range: 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 3/64, 1/24, 1/32
RIGHT sets the delay time for the right channel.
Range: 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 3/64, 1/24, 1/32
MIX determines the amount of delay effect in the mix.
Range: 0 to 100
FEEDBACK determines the amount of gain fed back to the delay input.
Range: 0 to 100
REVERB controls both the amount and size of the virtual plate reverb sound. In addition
to increasing the amount of reverb, higher values also increase the reverb size and time.
Range: 0 to 100
CHORUS determines the amount of chorus modulation.
Range: 0 to 100
3.2.10 EQ
The EQ section is a 4-band fixed-frequency graphic equalizer with high-pass and lowpass filter s . At high boos t levels, the EQ s atur ates with diff erent tonal qualities than the
Distortion module.
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HiPASS controls the high-pass filter frequency.
Range: 20 to 20,000 Hz
LoPASS controls the low-pass filter frequency.
Range: 20 to 20,000 Hz
100 c ont rols equaliz ation at 100 Hz .
Range: -30 to +30 dB
600 c ont rols equaliz ation at 600 Hz .
Range: -20 to +20 dB
1500 controls equalization at 1500 Hz.
Range: -20 to +20 dB
9000 controls equalization at 9000 Hz.
Range: -25 to +25 dB
3.2.11 Global and Out Sections
TEMPO displays the current tempo.
Range: 1 to 300
SOURCE determines the clock source.
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Range: Host, Internal
BEND RANGE determines the range of the pitch bender.
Range: 0 to 12
VOICES determines the number of voices that can be played sim ultaneous ly.
Range: 1 to 32
GAIN s ets C OD EX’s overall output volum e, after all gener ators and proces s or s .
Range: -80 to 0 dBFS
METER displays CODEX’s overall output energy.
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CHAPTER 4 – STANDALONE APPLICATION
The CODEX standalone application requires an ASIO driver for Windows or a Core
Audio driver for Mac OS-X.
CODEX.exe (Win) or CODEX.app (MAC) loads the CODEX instrument and
configuration preferences dialogs.
The standalone applic ation’s m enu file contains three it em s :
• All Notes O ff – sends an All Notes Off MIDI command to the CODEX synthesizer,
useful in cases of “stuck” sustaining notes.
• Preferences – displays the preferences dialog for Audio, MIDI, and user settings.
• Exit
THE PREFERENCES DIALOG
The preferences dialog allows configuration of Audio, MIDI, and user settings.
Audio of fers c ontrol over the following param eter s :
• Device displays the audio devices available on the system.
• Output Channels allows selection of audio outputs from the selected dev ice.
• Sample Rate allows selection of sample rate.
• Control Panel (Windows) launches the selected ASIO device’s control panel for
selection of buffer size and latency.
• Buffer Size (Mac) allows selection of buffer size, which determines latency.
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MIDI offers control over the follow ing param eter s :
• MIDI Input Device displays a list of available M IDI input devices on the current
system, allowing you to select the MIDI device through which to receive MIDI
data.
• Input Channel – CODEX standalone is ready to receive MIDI in OMNI mode
from all channels. The MIDI channel control allows the selection to receive MIDI
input only from certain channels as selected in the checkboxes.
Load Previous Settings – When checked, loads with the settings used most recently;
when unchecked, loads with default s ett ings .
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CHAPTER 5 – THE WAVESYSTEM
5.1 The WaveSystem Toolbar
All Waves plugins feature the WaveSystem toolbar which takes care of most
adminis t rative func t ions you will enc ounter while working with your W aves s oftw are. The
features of the WaveSystem toolbar are the same on practically all Waves plugins, so
familiarity with its features will be helpful no matter which plugin you are using.
Toolbar Functions
Opens the plugin’s About box
Undo Undoes the last 32 actions
Redo Redoes the last 32 undone actions
Setup A /B Toggles between two presets; useful for comparison of parameter
settings.
Load Filter A CODEX-exclusive toolbar which lets you specify whether certain preset
characteristics should be loaded. See the next section for details.
L/R Arrows Moves to the previous or next pr es et
Copy A→B Copies the current settings to the second preset register
Load Recalls presets from file
Save Saves presets in the Waves file formats
? Opens the PD F m anual for the plugin you are using
5.2 Preset H andling
Preset Types
Factor y Pre se t s are permanent presets in the Load menu. Factory presets cannot be
overwritten or deleted.
User Presets are your favorite settings of the plugin, saved as presets in the Load menu
under ‘User Presets.’ User Presets can be overwritten and deleted.
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Setup Files may contain more than one preset. For example, a single file can contain all
the presets for a session. When you open a Setup File, all its setups become part of
your Load pop-up menu for fast access. This can be particularly useful with multiple
instances of a plugin in a single ses s ion. By saving all the s ett ings you creat e into a
single Setup File, they can all be quickly available for every instance of that plugin.
Loading Pr esets and Set ups
Click on the Load button to see the Load pop-up menu. The m enu is divided into f our
sections. If a section is not currently available, it will not appear in the Load pop-up
menu.
Open Preset File… Select to open any setup or preset file, whether from the Library or
your own creations.
‘Filename.xps’ Displays any currently loaded Setup File and its presets.
Factor y Pre se t s Displays the default Factory Presets.
User Presets Displays any loaded User Presets.
Load with Preset – MIDI, Arp/ Seq and Tempo
The Load with Preset filter is a CODEX-exclusive custom toolbar that lets you choose
whether or not to load certain preset characteristics such as MI DI assignments,
arpeggiator/sequencer settings, and tempo. When checked, these parameters are
loaded. Here are some practical examples:
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MIDI – Let’s say you’ve assigned a MIDI controller knob to CODEX’s VCF cutoff.
Loading the next pres et will r es et this paramet er; you will then have to redo the MID I
Learn routine in order to attach the knob to the control. However, if you uncheck the
MIDI checkbox, the next preset will be loaded, but the current M IDI assignment will
remain in place.
Arp-Seq – Let’s say you have a bass line arpeggio that you like, and you want t o tes t
the pattern using a different sound. Uncheck the Arp/Seq checkbox, and the preset will
be loaded without any ass oc iated Arp/Seq s ettings , leaving the pat tern as is .
Tempo – Let’s say you are working on an arpeggio with an internal tempo of 140.
Loading presets may set the tempo to a different value or to the value determined by
your host computer. To ignore tempo settings saved with other presets, uncheck the
Tempo box, and your current tempo setting will remain in place when other presets are
loaded.
Saving Preset s and Setups
Click on the Save button to see the Save pop-up menu. Four options are available. If an
option is not currently available it will be grayed out and inaccessible.
Save to New File… Select this to start a new Setup file. There are two
prompts – first for the setup filename, then for the
preset name. You must provide a name for both the
setup file and the preset. Click OK (ENTER) to
complete the save. It is a good idea to create a
folder in which to save several setup files for a
project.
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Save ‘File Nam e’ – “Pr eset Na me” Overw rites the s ett ings of the loaded pr es et
(whether a User Preset or a preset from a Setup
File) with the current settings. If a Setup File is
currently loaded, the name of the Setup File is
displayed fol lowed by the name of the pres et itself .
If a User Preset is loaded, its name is displayed.
Save to ‘File Name’ As… Saves the current settings as a new preset into the
Setup file that is open (if none is open, t he option is
grayed out). You will be prompted to give the preset
a name.
Put into Preset Menu A s… Saves the current settings into a User Preset that
will remain in your Load menu (until deleted). Y ou
will be prompted to give this preset a name. User
Presets are stored in the plugin’s preference file.
Please note: Special characters (!, @, #, %, ^, etc.) are not supported in preset names.
Deleting Presets
You may delete User Presets and presets within a Setup File. Factory Presets and
Setup Library files cannot be deleted or overwritten.
1. Hold the Command (Mac)/Control (PC) key down.
2. Click-and-hold the Load button to s ee the pop-up menu.
3. While still holding the Command/Control key, select the preset or setup to delete.
4. A confirmation box will appear, allowing you to cancel or OK the deletion.
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A/B Compar ison and Copying
The Setup A/Setup B button may be clicked to compare two settings. If you load a pres et
in the Setup B position, this will not affect the preset loaded into the Setup A position,
and vice versa.
If you want to slightly modify the settings in Setup A, you can copy them to Setup B by
clicking on the Copy to B button, then altering Setup A and comparing with the original
Setup B.
The name of the current setup will be shown in the title bar (on platforms which support
it), and will switch as you change from Setup A to Setup B.
Note: an aster is k will be added to the pres et name when a change is made to the preset.
5.3 Interface Controls
Cont rols can be in one of thr ee st ates:
• Not Selected, where the control is not the target of any user entry.
• Selected, where the control is the target of mouse control entry only.
• Selected and A ctive, where the control is the target for both mouse and
keyboard entry.
Toggle Buttons
Toggle buttons display the state of a control and allow switching between two or more
states. Single-click to change the control’s state. Some toggle buttons have a text
display which updates with the current setting, while others (bypass, solo, or monitoring
toggles) illuminate when the control is active.
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Some plugins have link buttons between a pair of toggle but tons , allowing clic k-anddrag adjustment while ret aining the offs et between the contr ols .
Value W indow Buttons
Value windows display the value of a control and allow either click-and-drag adjustment
or direct control via the keyboard.
• Using the mous e, click-and-drag the value window to adjust. Some value
windows support left/right, some up/down (as you hover over a button, arrows
will appear to let you know which direct ion of m ovement that button s upport s ).
You may also use your mouse wheel to adjust parameter values.
• Using the a rrow keys, click once with the mouse to select the button, then go
up/down or left/right (depending on the direc tion s upported by that butt on) to
move in the smallest incremental steps across the button’s range (holding down
the arrow keys will move faster through the range).
• Using key entry, double-clic k on the button to open the value window, and
direc tly enter the value fr om your keyboard. If you enter an out -of-range num ber ,
the button will stay selected but remain at the current setting.
Some plugins have link buttons between a pair of value w indows , allow ing c lic k-anddrag adjustment while retaining the offset between the controls.
Sliders
Click or scroll the mouse wheel on the slider itself or anywhere within the slider’s track.
The numerical value of the slider settings is displayed in a hover window above the
slider path.
Hover Box
Hover boxes will appear and display the control value when you hover w ith the mous e
over the control.
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Multiple Control Selection
•
•
•
•
•
One of the most powerful features of the WaveSystem is the ability to select and adjust
multiple controls simultaneously. Using the mouse, drag-s el ec t the desir ed group of
buttons or graphic controls by clicking-and-holding at a point outside the contr ols and
forming a rectangle that includes the controls y ou wish to adjust. Alternatively, press and
hold Shift while clicking the mouse on any control you wish to link. This method is useful
when you want to select two or more controls that are not adjacent to one another.
TAB Functions
TAB moves the ‘selec ted’ s tatus to the next control, with shift-TAB moving in the reverse
direction.
Additionally, Macs have an option-TA B function for ‘down’ movement and a shift-optionTAB function for ‘up’ movement where applicable.
If you have s everal value window buttons s elec ted, TAB func tions will take you thr ough
the selected controls only.
Hitting Esc or Return will return the 'focus' to the DAW application.
5.4 Waves Preferences (Pro Tools only)
W hen launching P ro Tools, hold Shift to view t he W aves Plugin Pref erenc es window .
The following options are available:
Do not use AudioSuite plugins
Do not use RTAS plugins
Rescan all plugins
HUI control surface support (low resolution)
Enable single-click text entry
Waves CODEX User Guide
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