Waves Audio V-Comp User Guide

Waves V-Series

1. Introduction

Much of the music of the ‘60s and ‘70s is characterized by a certain sound – a warm, fat,
rich sound with spectacularly detailed midrange. The analogue EQ and dynamics
processors of that era, although lacking the pristine specifications of modern Waves plug­ins, easily provided recording engineers a sound that is all-but-impossible to achieve
today. Unique EQ curves, specifically chosen cutoff points, an overall warmth, and even
a bit of harmonic distortion and noise combined to create a simple, almost foolproof set of
processing tools. These processors were so effective that you could count on a great
sound with practically every application.

Waves has brought back this classic sound in three plug-ins:

• the V-EQ3 three-band equalizer with highpass filters

• the V-EQ4 four-band equalizer with highpass/lowpass filters

• the V-Comp Master Bus Compressor

What makes the V-Series processors so special is the fact they are not “digital
approximations” of a vintage sound. Instead, Waves engineers modeled the actual

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hardware processors, then made easy-to-use plug-ins that perfectly emulate the original
devices. These three plug-ins recreate the sound of legendary vintage gear, while
providing the power and flexibility you expect from Waves plug-ins.

Because these three plug-ins are modeled after analogue processors, they are optimally
used at an operating level where 0 dBFS = +22 dBU. (This information is helpful when
calibrating your session.)

When should you use the V-EQ3?

This Waves V-EQ3 is modeled after the landmark 1073 and 1066 EQ processors. There
are a number of reasons why a music engineer may look to the V-EQ3 for solutions to
music production problems:

• The cutoff points on the Waves V-EQ3 accentuate the warm, fat sound associated
with the popular music of the ‘70s.These fixed cutoff points are likely to provide
just the effect you need to capture that sound.

• The unique performance of the bell curves in these equalizers allows you to add
more gain at specific frequencies than would be possible with modern,
symmetrical equalizers. You can often get away with adding 18 dB of gain without
encountering filter ringing.

• Part of the signature sound of top-of-the-line processors from the 1970s is a
specific form of harmonic distortion, which is very difficult to emulate with today’s
plug-ins. This subtle distortion, incorporated into the V-EQ3, is one of many
elements used to recreate the warm sound of the ‘70s.

When should you use the V-EQ4?

The V-EQ4 is a multiband EQ, modeled after the legendary 1081 EQ processor, that is
well suited for mixing applications where great precision and power are needed while
preserving a vintage sound.

• The V-EQ4 offers high Q bells and a large number of cutoff points, making it more
suitable for mixing than the V-EQ3.

• You may find the V-EQ4 more flexible in solving sound problems, whereas the V-
EQ3 is more appropriate for shaping your sound.

• Try inserting the V-EQ4 first in a chain, perhaps on individual instruments. Then,
use the V-EQ3 as a mastering EQ to finalize your mix.

When should you use the V-Comp Master Bus Compressor?

The Waves V-Comp is modeled after the classic 2254 master bus compressor and is
designed to deliver a warm, fat sound with great mid-range detail. Among the reasons to
reach for this compressor:

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• You are seeking fat horns or bass without sacrificing midrange detail.

• You want a very quick, easy to use compressor that will help glue together your

track and deliver a nominal output gain regardless of your operating level.

• You are mixing a song where attitude is more important than transparency.

When should you use a different Waves processor?

The plug-ins in the V-Series create a specific vintage feel. For a modern sound, you can
turn off analogue modeling in the V-series plug-ins, or you may prefer to choose another
Waves EQ or dynamics processor.

• If you need to create very precise bell filters, as in hum removal, you will likely
achieve better results with a Waves Q10.

• If your material demands very high precision processing using large word sizes, try
the Waves Renaissance EQ.

• For a versatile dynamics processor with endless possibilities, try the Waves C1.

However, if you are after the trademark vintage sound of the 1960s and ‘70s, nothing
compares to the V-EQ3 and V-EQ4 equalizers and the V-Comp Master Bus Compressor.

2. Description of the Waves V-Series Plug-ins

V-EQ3 Equalizer

The Waves V-EQ3 Equalizer is three-band EQ with a highpass filter. Like the 1073 and
1066 hardware devices after which it was modeled, the V-EQ3 offers selected cutoff points
and ±18 dB gain adjustment with a bell-shaped curve. The highpass filter can range from
off to 360 Hz, with a slope of -18 dB per octave. Output gain can be adjusted up to ±18
dB.

Metering is in dBFS. A Trim feature measures the output peak level and allows you to set

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the output level to nominal (-0.1 dBFS).

The V-EQ3 Equalizer uses fixed cutoff points but covers the entire frequency spectrum.

V-EQ4 Equalizer

The Waves V-EQ4 EQ is a four-band equalizer with a lowpass/highpass filter. It was
painstakingly modeled after the 1081 hardware EQ processor from the 1980s. Specific
cutoff points provide great control while maintaining a warm, vintage sound. Like the V­EQ3, this EQ provides up to ±18 dB of gain adjustment, yet the V-EQ4 has switchable
high Q settings, providing steeper EQ curves.

V-Comp Master Bus Compressor

The Waves V-Comp Master
Bus Compressor is a classic
compressor/limiter with de­esser. The V-Comp
accurately models the
renowned 2254 master bus
limiter, providing very
convincing vintage dynamic
control.

V-Comp offers separate
±18/24 dB input and output
gain controls and selectable
metering. There are five
fixed compression ratios and
a variable limiter threshold.
Limiter threshold is
referenced in dBU, with +22
dBU = 0 dBFS (0 dBU = -22

dBFS).

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In the analogue domain, ideal levels tend to fall between 0 and +5 dBU. Translated
to the digital domain, which is measured in dBFS, 0 dBU = -22 dBFS. This means
that ideal input levels to the V-Comp range from -22 to -17 dBFS. This may take a
bit of getting used to, since those accustomed to the digital world often seek the
hottest level on each track. However, Waves engineers chose to model the V­Comp precisely after the original hardware, so it is preferable to provide input
levels similar to those expected by an analogue master bus compressor.

3. Controls and Indicators

Unlike most Waves plug-ins, the V-Series plug-ins do not display frequency, gain, or other
parameters in Value Windows. In keeping with the vintage feel and sound of these tools,
values can be read from the knob positions on the interface. The LF, MF and HF (LP,
LMF, HMF and HP in the case of the V-EQ4) controllers are double knobs. The inner
knob controls gain and the outer ring sets the cutoff frequency.

Controls for the V-EQ3 Equalizer

Click on a desired frequency to select that value. Alternatively, you can enter values
numerically by double-clicking on the knobs. Double-clicking on the inner knob will open
a dialogue box for gain. Double-clicking on the outer ring will open a dialogue box for
selecting the cutoff frequency. Click-drag vertically on a knob to change the frequency.
ALT+click resets the parameter to its default setting.