Plugin Overview: Waves REDD
Waves released some new stuff. Some more of their analog emulation types of plug-ins. This one is a console from way back when. It’s pretty cool if you’re into The Beatles, if you’re into Pink Floyd, this may be right up your alley.
This is a plug-in that models the REDD. Three different versions of the REDD console, which was built exclusively for Abbey Road studios back in the 60’s. There’s a REDD 17, a 37, and a 51, and this is pretty vibey. It’s pretty cool. It’s got a drive knob that does stuff I haven’t heard any drive knob really do, so let’s get into it.
What you’re looking at right now is the 37/51 version of the plug-in. There is a 17 that’s sort of like a single channel. If you can do everything on this, you can do the 17 as well, so I’m just going to kind of walk you through this. I’ve got it on an electric guitar track here.
But yeah, the plug-in is pretty much split in two halves. On the left side, you’ve got EQ curves, input gain, and then sort of amp type and console selection. On the right side, you have your output. It’s got a cool monitoring feature, as well as the drive and sort of Waves Analog button.
It can operate in pretty much three different modes. You have stereo, where both sides are linked, left and right, so what you do to one, it does to the other. Then it’s got duo, which is dual mono, so both channels work independent of each other.
So it’s not linked, so you can adjust the left, you can adjust the right, do your own thing to either side, and then it’s got M/S. Pretty cool. Mid/Side. So your left channel would be mids and your right channel will be sides. That’d be cool for anything like 2buss processing or mastering where you want to kind of even some stuff out in the center or brighten some stuff on the sides, or vice versa, or whatever you want to do.
For this we’ll keep it in stereo and let’s walk through this thing.
You’ve got some metering up here. The big meters are output. They’re calibrated at 18dB. So when you hit zero, you hit 18dB, and that’s all the headroom you get.
The middle is going to be your input metering. Now, on the left side, this top knob right here, it flips you between the REDD 37 and REDD 51.
Now, this plug-in has a slight roll off on the top end, up in the tippy-top. I’d say like, 10-12kHz on up with a slight kind of roll off in frequency, and so it’s going to kind of round things out naturally just by placing it on the track.
So like, if you wanted to put it on a hi-hat that was really bright, or if you have a lead guitar part, or any kind of high frequency stuff that’s just a little in your face, you could dump this on it, and without doing anything, it’s going to round it out a little bit, just as it is. Warm it up, if you will.
The 37 console is darker than the 51. So the 37 rolls of things naturally farther than the 51, if that makes sense. So the 51 kind of splits the difference between a flat EQ curve and the rolled off.
Again, this is super subtle. There’s another guy on here that did a review and he’s got some charts where you can actually see that stuff.
Below that, these consoles had two different sort of channels, and each channel kind of has its own flavor. So you can switch between that there.
Below that you have input gain and you know, you can dial it back, we’ve got 24dB, you’ve got 12dB up. This is sort of like a first in the chain type of plug-in. They’re real gentle EQ curves, there’s no compression on this, no effects, it’s just sort of the sound of the console, which is cool.
Okay, the third knob down here is your bass lift settings. Default is flat. It’s not doing anything. Click it to the left and it’s boosting it. That sound — well, first I’ll play sort of with the curve flat.
There you go. I’ll put the boost in.
[guitar with bass boost]
You know, and it’s not just getting subby, it’s adding weight to it I feel.
Then the one on the right, so back to our knob here, click that, it puts a pad in. Minus ten dB. So here’s neutral, and then I’ll flip between that and pad.
[guitar, without pad]
So pad engaged.
[guitar with and without pad]
Pretty basic, we all know what pads do.
Below that, it’s just showing you that it’s linked. If we throw it in duo mode, they’re unlinked. Put it back in stereo.
Below the linked indicator, you can switch between two sort of functions in EQ. Pop gives you a bell curve when you boost highs. Right? And you can watch these little images we’ll change here.
When we switched to classic, you get shelves when you boost. So you know, there’s options there. So we’re in classic mode, we’ll boost the highs.
[guitar, boosting highs]
Take it to the extreme so you can hear it. Now we’ll do — I’ll switch over to Pop and boost it, and you’ll get the shelf — or, the bell curve, I’m sorry.
[guitar, boosting highs]
So there you go you get a little bit more specific top end on that Pop setting.
Low tones, shelves either way. Boost or cut.
[guitar, cutting and boosting lows]
So if you want to take away or add, there you go.
And that’s outside of it. On the other side, you’ve got your monitor settings, so this is pretty cool. It defaults to stereo, you can also listen to it in mono, and then you can also check out the left and/or right side, if you’re in M/S mode. Definitely comes in handy.
Spread just switches it between stereo, duo, mid/side. Then you have your drive button, which is pretty insane. I’ll — it defaults at minus six, and I’ll just slowly roll it up and you can hear what it does.
[guitar, adjusting drive]
It gets pretty insane. And if you want to take it ever farther, you can drive more input into this “circuit.”
[guitar, boosting input]
Yeah. So I mean, that’s mostly insane. So yeah, I mean you can throw that on guitar and get more grit out of it. You can throw it on anything and get more grit out of it. It’s one of the cooler drive knobs I’ve heard.
Then you have Waves analog knob that’s going to add their 50 or 60Hz white noise. If you have headphones on, I’ll crank it up and you can hear it. Now I’ll pull it down.
So you get the sound of that analog signal. The actual hardware.
Then you’ve got output faders down here. That’s pretty much it.
It’s a pretty cool plug-in. When I first — I didn’t know they were coming out with this. It came out probably a couple of days ago, and I wasn’t super excited and you know, I demoed it, checked it out, and I might pick it up. It sounds pretty cool. I think I could get some use out of it.
I may do a mix on a smaller track here and pop this thing on every single channel and really hear it sort of come to life and do some A/B that way. May upload a video.
But anyways, let me know what you think about it. Again, this is really brief. I don’t know a lot of the super technical specifics of it as far as what frequencies it’s precisely boosting and cutting.
There is a really good screencast I saw on YouTube of a guy that did that and it was pretty interesting to see what was happening.
So check that out, like the video, subscribe, I’ve got some more stuff coming. Head over to the website, head to the Facebook, and I’ll see you next time. Thanks, bye.