An overall input level fader enables the user to compensate for any gain increases caused by EQ boost, and the output fader allows the output signal level to be optimised. The compressor has basic threshold, ratio attack and release settings the gate provides control over threshold, floor (attenuation when closed), attack and release. To make all this work at once, the equaliser section has been reduced to just four bands rather than the 10 offered by the Q10, and there's no independent control over the left‑ and right‑channel EQ, but in most circumstances a 4‑band parametric is about as much as most people can make sense of anyway. Adobe Premiere users, apparently, have a disk‑only install system.Įssentially, AudioTrack combines simplified sections derived from existing Waves plug‑ins - namely the Q10 paragraphic equaliser, the C1 compressor and the gate section of the C1 compressor. To use AudioTrack within a Digidesign system, you'll need a dongle in the form of a Wavekey, and a single Wavekey can be updated by entering new codes to validate it for use with any Waves plug‑ins you have purchased.
To help overcome this limitation, AudioTrack combines the functionality of two plug‑ins in one, but it only counts as a single plug‑in, which helps a lot when you're in a tight spot. Software audio processing plug‑ins are immensely useful but, unless you have a powerful Digidesign TDM system, you're very restricted as to how many you can run at any one time. Paul White checks over Waves' multi‑process plug‑in for Digidesign TDM systems, Macromedia Deck II and Adobe Premiere.
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