Waves TDM: GTR (Guitar Tool Rack) w/ Free Gear

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Like all of Waves acclaimed plug-ins, Waves GTR was designed to provide recording professionals with a level of sound quality and performance previously unattainable in software.

Waves’ goal wasn’t to offer jusft another substitute for real amps and effects, but to create a tool engineers and producers could use as their first choice, with no excuses. It was also crucial that Waves GTR satisfy session guitarists accustomed to the very best in tone and feel.

The first step was the development of an entirely new, proprietary sampling method for guitar amps, cabinets, microphone placement and effects which produces tones of unmatched realism.

Next, the amp and effects plug-ins were developed independently and optimized to meet professional requirements for mono and stereo recording (including dual amp and dual cabinet options), MIDI control, and routing flexibility.

Finally, Waves teamed with Paul Reed Smith Guitars to refine the system’s tonal options, improve user efficiency, and to create a
hardware interface that would deliver a superior input signal.

Waves / PRS Guitar Interface

An electric guitar produces a high impedance signal with an extremely wide range of frequencies and dynamics, while recording systems rarely offer guitar-compatible inputs. This mismatch isn’t addressed by most amp modeling solutions, and the result can be an irretrievable tone loss before the signal can even be processed.

To solve this problem, Waves and PRS Guitars developed a hardware interface which retains the guitar’s full range of dynamics and fidelity as it transforms the signal to low impedance and converts the guitar’s unbalanced signal to a balanced signal for better hum control.

An extremely transparent preamplifier circuit allows levels to be matched to cover a wide range of inputs, as well as differing pickups, from high output humbuckers to low output single coils.

The interface features custom-designed circuitry, extremely high quality components, studio-grade jacks and superior wiring to maintain tone at this critical point in the signal path. Outputs are at microphone or line levels, and balanced or unbalanced on XLR and 1/4" TS jack respectively. A 3-LED indicator shows signal present, nominal level when lit occasionally (showing that the best balance between level and S/N ratio is being delivered) and over.

Waves Amp

By taking meticulous measurements at many different volume levels, Waves was able to capture non-linear distortion and harmonic overtones in order to reproduce the character, extreme dynamics and frequency range of the world's finest amps. The ten amps included in GTR 2.0 are intelligently categorized by sound, and increasing levels of drive.

Each amp opens with its tone and drive controls set to a sweet spot. In addition, the cabinet, microphone, and placement are all changed to put you at the optimal starting point for that particular amp. It’s like having a studio technician set up and adjust the amp and cabinets so you can concentrate on the final tweaks. Of course, you can change and save parameter settings in as many custom presets as you like, just as you can with any Waves plug-in.

Bass, Middle, Treble and Presence knobs provide interactive tone-shaping controls specifically tuned for each amp. The Drive control is normalized to produce similar loudness at any drive setting. This lets you adjust Drive for tone without needing to readjust output gain.

Dual-Cabinet and Dual-Mic Options

Two classic techniques for getting great guitar sound in the studio are recording an amp with two different microphones or playing through two cabinets. Waves Amp gives you these options in every configuration, providing six different microphones to choose from, with each either on or off axis. You can also reverse the phase of either cabinet for even more tonal options. Cabinet sounds can be blended together easily using the Gain controls. Each cabinet can be panned separately when used in stereo.

The cabinet sounds were taken from vintage speaker boxes recorded with classic microphones using the placement of engineers known for their superior guitar tracks. A new level of accuracy was achieved by using advanced capturing techniques originally developed for Waves' award-winning IR-1 Reverb.

Waves Stomp
Like the entire GTR system, Waves Stomp was designed so you can get professional results quickly. It’s easy to use because it works so much like a real collection of stomp boxes inserted into a pedal board.

The PedalBoard is offered in Mono, Mono to Stereo and Stereo channel configurations. You can place the stomps in any order; multiple instances of the same stomp can even be chained together. The selection of stomps and their settings, including an alternative “B setting” can be saved to PedalBoard setup files or workstation documents.

To get started, you open a two, four, or six station PedalBoard on a track. Then you select Stomps from the pop-up menu at the bottom of each station. Don’t worry about being limited by your choice; you can change the size or the stereo/mono configuration of the PedalBoard even after loading it with Stomps. The PedalBoard will keep your Stomps in place and reconfigure itself automatically.

You can activate any of the Stomps by clicking on the Stomp’s pedal. Just like a real pedal board, you can get different sounds by rearranging the order of the pedals. Simply drag and drop any Stomp to any position you like.

But unlike a real pedal board, the Waves stomps automatically change from mono to stereo or stereo to mono if needed, depending on where they’re dropped in the chain. For example, if you move a stereo Delay in front of a mono-to-stereo Chorus, it becomes a mono Delay. If you’ve saved a stereo pedal layout as a preset and open it on a mono track, the PedalBoard automatically converts to mono plug-ins.

In fact, the Waves PedalBoard offers dozens of features that make it far more versatile than real pedals. For instance, it offers multiple undos that allow you to easily return to an earlier configuration.

Using the A/B feature, you can set up two different chains and instantly compare them. The A/B feature can be automated so that you can switch chains automatically on the fly.

The PedalBoard and Stomps are fully automatable, letting you create dramatic effects that change over time.

You can also use an outboard MIDI controller such as an expression pedal for real time control of any Stomp parameter.

In fact, using a MIDI foot controller, you can control nearly every function of the Waves PedalBoard, switching Stomp effects in and out or calling up entire chains with ease. This lets you program effects for an entire song and make the changes in real time, just as you would with a real pedal board.

In keeping with the goal of achieving pro sounds quickly, the Waves PedalBoard comes with dozens of carefully designed presets. These include entire chains of Stomps that have been tweaked to produce stunning effects.

There are 23 Stomps, including everything from basic EQ, Compression and Gating to modulation effects such as Flanger, Phaser, Wah, Octaver and Chorus, to various delays and reverbs as well as several flavors of distortion. Many stomps that have time based controls such as LFO rate or Delay Time can be synced to the host BPM.

Also included is the Waves Tuner, which can be set to Chromatic or Alternate tunings. A lit arrow lets you know which way to tune, while a highlighted note tells you which note you’re tuning to. The tuning reference can be adjusted plus or minus 6 Hertz from 440.

STOMPS

Complete Compatibility
Full Pro Tools 7 TDM and LE support on both Mac and PC
Mac - AU, MAS and VST
PC - DirectX and VST

CASCADE FAT HEAD- RIBBON

The Cascade FAT HEAD offers the natural and open sound associated with the finest ribbon microphones. You will find that when recording acoustic guitars, guitar cabinets, vocals, drum over-heads, and countless other types of instruments, the ribbon microphone will produce the warmth that is vital to today's digital recording environment. We firmly believe you will also agree that this microphone will make a great addition to your collection.

We inspect and check the audio quality of each and every Cascade microphone before it leaves our shop, once you try one...you'll be a believer.

Specifications:

Type: Ribbon (velocity) Microphone
Ribbon type & Dimensions: 99% Pure aluminum, 2.5 micron, 1 3/4" (L) X 3/16" (W)
Polar pattern: Figure 8 Symmetrical design
Sensitivity: -56 db +/- 2 dB (0 dB=1V/Pa)
Frequency response: 30 to -18,000 Hz (+/- 3dB)
Output Impedance: <=200 Ohms
Recommended load impedance: >1000 Ohms
Max.SPL (1% THD @1000 Hz): 165 dB
Connector: 3-Pin male XLR
Size: Diameter: 3” (O.D. grill), overall length 6 1/2”, 7/8" (O.D. body)

Includes:

FAT HEAD Ribbon Microphone
Premium suspension shockmount
Wood box with heavy-duty latch and hinges
Aluminum case
Micro-fiber cleaning cloth

Frequency Response and Polar Pattern

Frequency Response and Polar Pattern w/ Stock Transformer

Cascade M39 Stereo Pair - 22mm Small Condenser

The Cascade M39 is a cardioid condenser that has a 22mm diameter diaphragm. The Cascade M39 has a silky, open audio quality with a wide dynamic range essential for accurate, instrument recording and is ideal for use as drum over heads, hi-hat, snare, or acoustic instruments such as guitar and piano. The M39 features a high SPL rating of 137 dB and is capable of capturing even the loudest of audio sources. The M39 is a compact microphone that is great for recording a wide range of instruments and is in use in professional and project studios around the world.

Note: In additional to the exceptional audio quality that these microphones exhibit, they also offer an anodized exterior finish that is superb.

Specifications:

22mm diameter diaphragm
Power: P24V or P48V Phantom Power
10dB switchable attenuation, selectable
-10dB low-frequency roll-off
Phasing: Positive pressure on diaphragm generates a positive voltage on pin #2 relative to pin #3
Generating Element: Externally Biased Condenser
Polar Pattern: Unidirectional (Cardioid)
Frequency Response: 30 Hz - 20 kHz
Sensitivity: -56 dB 0dB=1V/uBar @ 1 kHz
Impedance: Low (Less than 200 Ohms)
Equivalent Noise Level: +14 dB (A-weighted)
Connector: 3-Pin male XLR
Weight: 135 Grams

Includes:

Stereo Pair Cascade M39 22mm cardioid condenser microphone
2 x Standard style microphone mounting clip
Molded plastic case with EVA foam
Micro-fiber cleaning cloth

The Cascade M20u offers a new body style & grill along with improved specifications and performance. The new 1.07" gold vapor-diaphragm makes the M20u a great studio microphone capable of excelling in many applications of recording tasks and environments. The M20u is great for recording vocals, acoustic guitars, drums, guitar cabinets, horns and percussion instruments.

The M20u employs a -10 dB pad and lo-cut filter switch. With it's smooth frequency response, transparency, and dynamic range, it's easy to see why the M20u is a valuable addition to a wide range of users.

Specifications:

Capsule: New 1.07”/28 mm 5µ edge connected, gold vapor-diaphragm
Construction: heavy duty machined brass with anodized finish
Polar Pattern: cardioid
Operating voltage: +48V Phantom Power
Electronics: New low-noise class A discrete Fet+Bi-Polar, transformer-coupled
Frequency range: 20 Hz to 20 kHz
Sensitivity: -38.5 dB (0 dB=1V/Pa)
Equivalent noise level: (A-Weighted per IEC 286-4) <15 dB
Maximum SPL for THD: <0.5% (1 kHz) 140 dB w/Pad
Switchable low frequency cut-off: -6 dB @ 100 Hz
Switchable pad: -10 dB
New improved suspension shockmount
Connector: 3-Pin male XLR
Weight: 525 grams/1.16 lbs.
Dimensions: 47x215 mm / 2x8.6”

Includes:

CASCADE M20u 1.07" LDC
Suspension shockmount
Vinyl zipper pouch
Micro-fiber cleaning cloth

PDF with Frequency Response

Quote from Eben Grace:
"The Cascade M20 is an amazingly well built and great sounding microphone. It gets used all the time in my studio and makes a great match with the Grace Model 101." - Eben Grace of Grace Design.

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