Better Mixing Tips: Getting More from Waves Horizon Bundle

For Those Ready to Take Their Mixes Further

Following our previous look at Waves Platinum, this time our tips focus on the plugins you gain when upgrading to Horizon.
We have picked out some particularly appealing plugins worth having, so be sure to read through to the end.

Let's take a closer look at each plugin.

Better Mixing Tips: Using Waves Horizon Bundle — Video

Plugins That Model Vintage Hardware

First, let's look at the vintage hardware models added with Horizon.
We will focus on three of them and explain where each can be useful.

CLA-76

This plugin faithfully models the 1176 units owned by renowned engineer Chris Lord-Alge, known for his work with Green Day, Avril Lavigne, Santana, and others.
We have covered how to use 1176-style compressors and the characteristics of FET compressors in previous videos. Their fast attack is particularly well suited to instruments with sharp transients, such as drums.

One distinctive feature of CLA-76 is that it includes two different units, Blacky and Bluey, in one package, allowing you to switch between them instantly.

Let's try it on a snare drum.
First, compare it with the bypassed signal.

The snare sounds thicker and more powerful.
Next, listen to the difference between Blacky and Bluey.

Bluey has a sharper attack and a more tenacious sustain, giving it an aggressive sound. Neither is inherently better; choose according to the feel of the song and your preferences.
Being able to make comparisons like this so easily is one of CLA-76's strengths.

PuigChild 670

This plugin faithfully models Jack Joseph Puig's Fairchild 670. Its distinctive character can be heard simply by passing audio through it. With separate INPUT GAIN and THRESHOLD controls, it is easy to dial in the harmonic character you want.

Let's try it on a drum bus. This time, we will use no compression and focus solely on the change in tone.
Even at the default INPUT GAIN setting, the tone changes slightly. Compare it with the bypassed signal.

The snare seems to gain high-frequency extension and a drier, crisper character, while the hi-hat picks up a little grit.
To make this effect more pronounced, increase INPUT GAIN. Naturally, this also raises the level, so lower OUTPUT GAIN to compensate.

Kramer HLS Channel

Developed with Eddie Kramer, this plugin models the EQ section of the Helios console used at London's famous Olympic Studios.
As the word "Channel" suggests, it is more than just an EQ: it also includes a preamp.
Turning up this preamp seems to add not only harmonics but also a distinctive warmth in the midrange. It is also convenient that the volume stays unchanged.
The EQ works very smoothly and subtly. My particular favorite is High Frequency Gain. Turning it up improves clarity while giving the sound a truly analog character, without becoming harsh.

I have applied it to a vocal, so listen to the difference.

Combining the preamp and high-frequency boost in this enhancer-like way can bring the sound forward pleasantly.

Vocal Rider

We have covered this plugin in a previous video, so please refer to that tutorial for detailed operating instructions.

Here, I would like to revisit what makes this plugin appealing, especially the Music knob.
The Music knob uses a sidechain from the backing track to adjust vocal dynamics while taking the backing track's level into account.

Let's listen to what happens when we feed in the sidechain and enable the Music knob.

Comparing the sidechain on and off, the vocal seems slightly louder with it on.
The vocal is getting somewhat buried in this loud backing track, so the plugin appears to raise its overall level to compensate. In a sense, Vocal Rider is suggesting a reference fader level.

Of course, the Music knob does more than simply raise the level. It optimizes the vocal's reference level as the backing track's volume changes throughout the song.
To simulate this, let's compare what happens when the guitar is muted.

The difference is slight, but the fader rises less without the guitar, keeping the vocal from becoming too loud relative to the backing track.
This ability to control the fader in response to changes in the backing track is a major advantage of using the Music knob.

Bass Rider

This plugin automatically rides the bass fader to even out its dynamics.
It can handle level variations that a compressor alone cannot fully address, or adjust the volume while minimizing the tonal changes caused by compression.
Because it is optimized for bass, its behavior is distinctly different from Vocal Rider's.

Here are the controls:

• 1. Target: Sets the reference level for fader movement. Normally, aim near the peaks on the meter.
• 2. Detect: Sets the sensitivity and speed of response to level changes. The trick is to avoid a setting that makes the fader jitter.
• 3. Ignore: Sets how much the plugin ignores sounds outside the actual performance. If there are none, you do not need to adjust this.
• 4. Range: Sets the fader's range of movement.
• 5. Output: Sets the final output level.

Watch the fader during playback and you can clearly see Bass Rider detecting individual notes and moving the fader accordingly.
Compare it with bypass while listening in the context of the full mix.

The level differences between strings and fretboard positions are evened out, giving the low end a firm, stable foundation. This kind of stability is very important in a mix.
Identifying these differences by ear and writing automation takes considerable skill. Since Bass Rider makes the effect easy to achieve, it is a reassuring tool for mixing beginners as well.

Center

A typical use for Center is to insert it on the master bus and raise the sides. This time, I would like to show you some other ways to use it.

We have also covered this plugin in a previous video, so please see that tutorial for detailed operating instructions.

One approach is to insert it on a bus for instruments panned to both sides, then lower CENTER to make room for the vocal. Here, we will try it on the guitar bus.
The method is simple: lower the CENTER slider slightly. The key is to keep the adjustment subtle enough that it does not change the character too much.

Compare it with bypass, paying attention to how clearly the vocal cuts through.

In terms of how it works, the CENTER slider primarily affects the midrange, making it particularly well suited to this kind of task.
The appeal is how easily you can carry out mid/side processing.

A second approach is to use it on the master bus, leaving the sliders alone and using only the LOW, HIGH, and PUNCH knobs at the top.
Careful settings with these knobs can improve separation in the master mix.

• Since most of the low-frequency content is in the center, try turning LOW to the left. This strengthens the lows in CENTER while reducing them in SIDES. Be careful not to go too far, or the vocal can be pulled along with it and become heavy.
• HIGH affects a region that strongly influences our perception of sound, so turn it toward SIDE to add a little width. Again, take care: too much can pull the vocal outward and make it sound diffuse.
• PUNCH is useful for giving the kick and snare more presence. Turn it toward CENTER to add a little attack. Keep it subtle enough that the transients do not become overly sharp and crackly.

Now compare it with bypass.

There is more separation and a little extra width, without sounding unnatural. This is useful when you want fine adjustments rather than a dramatic mid/side change.

L3-16

Having this included in Horizon is a major benefit.
Although you control six bands, the plugin processes 16 separate bands internally. This makes more natural loudness maximization possible while also allowing more active sound shaping.

Like L1 and L2, it uses Threshold and Out Ceiling to maximize loudness. The biggest difference is the multiband control section on the right. It also has a linear-phase EQ, but the most distinctive parameter is Priority. Increasing Priority makes that region less susceptible to being squashed.

Let's set it up.

We want to lower Threshold until Attenuation reaches about -3 dB. This time, drag the link in the middle to lower Out Ceiling as well, then add a little makeup gain. This makes it easier to compare the tonal change against bypass.
In the multiband section on the right, you can see that each frequency band is being affected differently.

Now increase Priority in the frequency ranges you want to preserve.

For example, the upper mids contain vocal and snare harmonics. We also want to preserve the low end, so raise its Priority a little. To finish with a bit of air, you could slightly increase Gain in the high frequencies.
Although the interface may look complex at first, focusing initially on Priority and Gain makes it relatively straightforward to shape the sound.

Let's compare it with bypass to hear how the sound has changed.

The low end is richer and moderately tighter, yet the vocal remains stable instead of being pulled down by the bass. The overall sound also has a greater sense of range and energy.
Maximizers can have a reputation for squashing and degrading a mix, but with a little care, they can also be useful in a role similar to mix-bus compression.

As you can see, Horizon includes many plugins that model studio staples or use advanced technology. I personally use many of them regularly and highly recommend them.
If you want to take your mixing and mastering further while making your workflow more efficient, why not consider stepping up to Horizon?

Frequently Asked Questions

Q1. How should I choose between CLA-76 and PuigChild 670?

CLA-76 is suited to fast attack processing on instruments such as drums, and Blacky and Bluey offer different sonic characters. PuigChild 670 changes the texture simply by passing audio through it, making it useful for tonal enhancement through added harmonics. Choose according to the feel of the song.

Q2. What exactly does Vocal Rider's Music knob do?

It detects changes in the backing track's volume through the sidechain and automatically suggests an appropriate reference level for the vocal. By raising the vocal in louder sections and lowering it in quieter sections, it optimizes the vocal balance throughout the song.

Q3. Is Kramer HLS Channel's preamp different from a compressor?

Yes. Its main role is to add harmonics and warmth, and combining it with High Frequency Gain lets you use it like an enhancer. Unlike compression, it improves the texture without changing the volume.