Waves Manny Marroquin Signature Series  From Waves

Manny Marroquin on the MM Reverb: “For my Reverb plugin, we modeled the very best reverbs in my room, 18 of my favorites: Six different reverbs, with three different room sizes for each. We also included some EQ and compression, which I always use to shape the reverbs so they sit perfectly within the mix. Plus, we added what I like to call the ‘fun’ section, with phaser and distortion. For example, sometimes I’ll send something to a really big reverb, then add phase and distortion to get some really unique tails. With this plugin, it’s all right there in front of you.”

Reverb
    •    INPUT determines the level into the plugin.
    •    TYPE selects the reverb type.
    •    SIZE sets the size of the reverb selected in the Reverb Type.
    •    TIME determines the selected reverb RT60.
    •    PREDELAY determines the amount of time before the reverb begins.
    •    REVERB AMOUNT determines the amount in the overall effect.
    •    LOWS controls a shelf-like EQ centered around 60 Hz.
    •    MIDS controls a wide bell EQ centered around 2 kHz.
    •    HIGHS controls a wide shelf EQ centered around 8 kHz.
    •    COMP controls the compressor set on the reverb path.
    •    RATE determines the rate of the phaser.
    •    PHASER determines the overall level of the phaser effect.
    •    DISTORTION determines the overall level of the distortion effect.
    •    WET/DRY determines the balance between the direct signal and the processed signal.
    •    OUTPUT determines the plugin output level.

Manny Marroquin on the MM Delay: “Delay is all about depth. It’s one of the key elements in almost every mix I do. Plus, it enhances the groove, and creates layers of sound which can make a mix more exciting and multi-dimensional. It usually takes me five or six different plugins to get me those delay sounds; I wanted to put them all into one. We’ve included all the little extras that I always use to make the sound even more interesting: Some nice reverb, a little bit of distortion, a doubler/harmonizer to fatten things up plus a phaser, when you want to add some movement or really go wild.”

Delay
    •    INPUT controls the level into the plugin.
    •    MODE determines if delay time is set in milliseconds or synchronized to host tempo.
    •    DELAY L/DELAY R sets the delay time.
    •    FDBK L/FDBK R determines the amount of feedback per channel.
    •    LINK determines whether or not channel settings are linked or independently controlled.
    •    DRY/WET controls the balance between the direct and Delay + HP/LP paths.
    •    HP/LP controls the cutoff frequency of the HP and LP filters.
    •    HP/LP LINK inversely links HP and LP controls to create a simultaneous opening and closing filter effect on the delay.
    •    VERB SIZE controls the size of the reverb.
    •    VERB LEVEL controls the level of the reverb.
    •    VERB ON/OFF turns the reverb on or off.
    •    DISTORTION SEND controls the level of the signal going into the distortion.
    •    DISTORTION WIDTH controls the position of the distortion in the stereo image.
    •    DISTORTION LEVEL controls the level of the distortion output.
    •    DISTORTION ON/OFF turns the distortion on or off.
    •    DOUBLER DETUNE controls the detune amount.
    •    DOUBLER LEVELcontrols the level of the doubler.
    •    DOUBLER ON/OFF turns the doubler on or off.
    •    PHASER RATE controls the modulation rate of the phaser.
    •    PHASER LEVEL controls the level of the phaser.
    •    PHASER ON/OFF turns the phaser on or off.
    •    MONITOR selects the plugin output monitoring configuration
    •    OUTPUT controls the plugin output level.

Manny Marroquin on the MM Triple D: “Getting rid of “boxy” sound, harshness and sibilance can take a lot of work – if you want to do it right, which means not EQing things out and carving certain frequency ranges completely out of your signal. The Triple D plugin makes it easy to remove those unpleasant, even painful, frequencies. So why is it called “Triple D”, you may ask? Here’s why: DeBoxy, to remove “boxy” sound from the low mid area; DeHarsher, to eliminate harshness in the mids/high mids; and DeEsser for all those high ‘sss’ and ‘shh’ sounds. With Triple D, it’s a breeze to get your vocals sounding the way they should.”

Triple D
    •    INPUT controls the level into the plugin.
    •    DeBOXY THRESHOLD determines the threshold above which the signal will be attenuated for that range.
    •    DeBOXY FREQUENCY determines the frequency range that will be attenuated.
    •    DeBOXY LISTEN plays the signal through the DeBoxy filter.
    •    DeBOXY BYPASS bypasses the DeBoxy process.
    •    DeBOXY ATTENUATION METER displays the amount of attenuation per band.
    •    DeHARSHER THRESHOLD determines the threshold above which the signal will be attenuated for that range.
    •    DeHARSHER FREQUENCY determines the frequency range that will be attenuated.
    •    DeHARSHER LISTEN plays the signal through the DeHarsher filter.
    •    DeHARSHER BYPASS bypasses the DeHarsher process.
    •    DeHARSHER ATTENUATION METER displays the amount of attenuation per band.
    •    DeESSER THRESHOLD determines the threshold above which the signal will be attenuated for that range.
    •    DeESSER FREQUENCY determines the frequency range that will be attenuated.
    •    DeESSER LISTEN plays the signal through the DeEsser filter.
    •    DeESSER BYPASS bypasses the DeEsser process.
    •    DeESSER ATTENUATION METER displays the amount of attenuation per band.
    •    OUTPUT controls the plugin output levels.

Manny Marroquin on the MM Tone Shaper: “Parallel compression plays a huge part in my mixing technique. It adds richness and really brings out the full character of almost any sound and helps different elements stand out within a mix. Tone Shaper is a parallel compressor with four separate bands plus EQ and a few other ‘secret ingredients’ that make it quick and easy to change tonality of a track to match your mix. I’ve found that when a mix is like 80% there, instead of EQ or volume, adding the Tone Shaper makes things jump out, without sacrificing space in the mix.”

Tone Shaper
    •    INPUT controls the level into the plugin.
    •    DIRECT controls the level of the direct (input) signal, post send to parallel processing.
    •    DIRECT IN/OUT mutes the direct signal from the output.
    •    LOW controls the level of the low frequency range of the parallel process.
    •    LOW IN/OUT mutes the Low section signal path, removing it from the output.
    •    LOW TYPE selects the specific low frequency range.
    •    LO MID controls the level of the low mid frequency range of the parallel process.
    •    LO MID IN/OUT mutes the Lo Mid section signal path, removing it from the output.
    •    LO MID TYPE selects the specific low mid frequency range.
    •    HI MID controls the level of the high mid frequency range of the parallel process.
    •    HI MID IN/OUT mutes the Hi section signal path, removing it from the output.
    •    HI MID TYPE selects the specific high mid frequency range.
    •    HIGH controls the level of the high frequency range of the parallel process.
    •    HIGH IN/OUT mutes the Hi Mid section signal path, removing it from the output.
    •    HIGH TYPE selects the specific high frequency range.
    •    WIDTH receives pre-fader input from the low mid, high mid and high parallel paths, widening the stereo image of the signal it receives.
    •    WIDTH IN/OUT mutes the Width section signal path, removing it from the output.
    •    OUTPUT controls the plugin output level.

Manny Marroquin on the MM EQ: “When I sit down to do a mix, and I’m looking to do some creative equalization, as opposed to doing some ‘clean up,’ I always seem to end up reaching for the same frequencies. That’s when I go for one of my six go-to equalizers, depending on the frequency: SSL 9080 XL K for its high and low pass filters; Quad 8 or Neve 1073 for the low end; Quad 8 or Motown for lows/low mids; Motown, 1073 and API 550B for mids/high mids; and Avalon 2055 for its silky high end. Waves and I captured the best of each of my favorite EQs – and put them together in one plugin.”

EQ
    •    INPUT controls the level into the plugin.
    •    HP determines the frequency of the high pass filter.
    •    GAIN 1 controls low frequency gain.
    •    FREQ 1 controls the low frequency band cutoff point.
    •    GAIN 2 controls low-mid frequency gain.
    •    FREQ 2 controls the low-mid frequency band cutoff point.
    •    GAIN 3 controls high-mid frequency gain.
    •    FREQ 3 controls the high-mid frequency band cutoff point.
    •    GAIN 4 controls high frequency gain.
    •    FREQ 4 controls the high frequency band cutoff point.
    •    LP determines the frequency of the low pass filter.
    •    OUTPUT controls the plugin output level.


Manny Marroquin on the MM Distortion:“One of the things I also love is distortion. Whether or not it’s audible sometimes I just want to feel it. By adding just a touch of it, it will help get me that. And I’m not just talking just about guitars, either. A little bit of distortion on vocals, Rhodes, Wurlis, etc. can really add a lot of attitude and edge. So whether you like it ‘crunchy-style’ or ‘down-and-dirty,’ this Distortion is a simple but very effective plugin.”

Distortion
    •    INPUT determines the level into the plugin.
    •    DIRECT LEVEL determines the overall level of the direct signal in the output.
    •    DRIVE determines the amount of signal sent to the distortion.
    •    DISTORTION LEVEL determines the level of the distortion coming out of the plugin.
    •    ATTACK determines how fast the distortion will attack the signal.
    •    RELEASE determines how fast the distortion will be released.
    •    BASS determines the amount of low frequencies (a wide shelf around 100Hz) reaching the distortion engine.
    •    MID determines the amount of midrange frequencies reaching the distortion engine.
    •    MID FREQUENCY determines the cutoff point of midrange frequencies reaching the distortion engine.
    •    TREBLE determines the amount of high frequencies (a wide bell around 9 kHz) reaching the distortion engine.
    •    OUTPUT determines the plugin output level.