Recording - May 2018 - 47

almost like a poor man's multiband
compressor. Each of the two de-essers
offers Freq choice, filter/Q shape, and
Threshold, complete with a listen button
and a master output level control.
EQ: The EQ section can function as
a full 4-band parametric, or each band
can be set to specific EQ styles and
tasks. All four bands offer a frequency
range of 20 Hz to 20 kHz, a gain of
±18 dB and a 0.2 to 10 Q range. The
High and Low bands can also be set
to shelving mode or resonant shelving.
The Mid and Tone bands can be wide,
sharp, or parametric.
Comp: The Compressor section
starts with a choice of VCA, FET, or
Opto style compression and then
offers Threshold, fully sweepable Ratio, Attack, Release, Mix, and Output
controls. Changing compression styles
changes the reaction time, the sound,
and the feel of each compressor-VCA
is ultra-fast, FET is aggressive, and
Opto is smooth.
Insert: The last section is labeled
Insert, and allows you to place any
additional plug-in from Waves into the
audio chain.

like committing a Neve, API, or Trident
sound to your mix. This is the first plug-in
channel strip I have used in a long time
that has its own minimal "console"
sound that you control through use of
the Saturation level and type, the EQ
choices, and the compression.
While there are many great presets
available to get new users started, I found
the plug-in so quick to work with that starting from scratch and creating my own
sounds, as I would on a real mixing desk,
was never a problem!
A big thing to keep in mind with a
plug-in of this scope is that just because
a section is there, you don't have to
use it; you do not need to saturate,
compress, gate, and EQ every channel
just because you can. I often found
just adding a touch of saturation gave
me a head start on gelling sounds into
the mix. The next control I would grab
would be one band of the DS2, set to
pull out honk on a vocal or tubbiness in
the bass or kick. The first band of EQ I'd
always start with is the broadly-set Tone
band... and just these three parameters
would get me well started toward
framing my mix.

In use

Conclusion

The first thing to point out about this
plug-in's use is how CPU-light it is. On a
24-track mono session with one on every
channel, rounded out by a stereo version
on the master bus, the Scheps Omni Channel did not even come close to the 1/8
mark (12%) on my CPU meter in Cubase
9.5, running on a quad-core i7 iMac.
This is both surprising and awesome,
because this plug-in works and sounds
amazing. Once I learned the layout,
navigation, and functions, I found myself reaching for this plug-in on all my
channels on every song on the last
album I mixed. There were a few places
where I used hardware compression
on some channels, but 75% or more of
my equalization on the project was the
Scheps Omni Channel.
The weird thing is that it does not
have a 'sound' per se. It's analogish,
not over the top in any way-it's not

As I said, the Scheps Omni Channel
has pretty much been my in-the-box
go-to since I started working with it a
few months ago, and I do not expect
that to change any time soon. I think
Andrew Scheps and Waves made great
choices when it comes to workflow, and
the balance between analog flavor and
neutrality and flexibility. This plug-in is a
power-packed bargain.
Delivery: Web download
Formats: macOS 10.10.5+ or Windows 7/

SP1+ (64-bit), AAX/AU/VST/VST3

Copy Protection: Online account authori-

zation to hard disk or USB thumb drive
License: single user/single computer (use
thumb drive to move between machines)
Documentation: PDF user manual
Price: $149
More from: Waves, www.waves.com

RECORDING May 2018

47


http://www.royerlabs.com http://www.waves.com

Table of Contents for the Digital Edition of Recording - May 2018

Contents
Recording - May 2018 - Intro
Recording - May 2018 - Cover1
Recording - May 2018 - Cover2
Recording - May 2018 - 1
Recording - May 2018 - 2
Recording - May 2018 - 3
Recording - May 2018 - 4
Recording - May 2018 - 5
Recording - May 2018 - Contents
Recording - May 2018 - 7
Recording - May 2018 - 8
Recording - May 2018 - 9
Recording - May 2018 - 10
Recording - May 2018 - 11
Recording - May 2018 - 12
Recording - May 2018 - 13
Recording - May 2018 - 14
Recording - May 2018 - 15
Recording - May 2018 - 16
Recording - May 2018 - 17
Recording - May 2018 - 18
Recording - May 2018 - 19
Recording - May 2018 - 20
Recording - May 2018 - 21
Recording - May 2018 - 22
Recording - May 2018 - 23
Recording - May 2018 - 24
Recording - May 2018 - 25
Recording - May 2018 - 26
Recording - May 2018 - 27
Recording - May 2018 - 28
Recording - May 2018 - 29
Recording - May 2018 - 30
Recording - May 2018 - 31
Recording - May 2018 - 32
Recording - May 2018 - 33
Recording - May 2018 - 34
Recording - May 2018 - 35
Recording - May 2018 - 36
Recording - May 2018 - 37
Recording - May 2018 - 38
Recording - May 2018 - 39
Recording - May 2018 - 40
Recording - May 2018 - 41
Recording - May 2018 - 42
Recording - May 2018 - 43
Recording - May 2018 - 44
Recording - May 2018 - 45
Recording - May 2018 - 46
Recording - May 2018 - 47
Recording - May 2018 - 48
Recording - May 2018 - 49
Recording - May 2018 - 50
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Recording - May 2018 - 52
Recording - May 2018 - 53
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Recording - May 2018 - 55
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Recording - May 2018 - 58
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Recording - May 2018 - 67
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Recording - May 2018 - 70
Recording - May 2018 - 71
Recording - May 2018 - 72
Recording - May 2018 - Cover3
Recording - May 2018 - Cover4
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