Waves StudioVerse

Earlier in the year Waves released Creative Access, a subscription-based business model designed to give Waves users tiered access to their plug-ins on a monthly or annual basis. At the same time, Waves released StudioVerse, an AI enabled content delivery system that allows you to import pre-configured signal chains into your sessions.

The StudioVerse business model is like those currently offered by other manufacturers in that they are utilizing an AI enabled content delivery system. IK Multimedia, Native Instruments, Arturia and others all use a similar AI driven predictive algorithm to filter and select results that the end user wants, or the system suggests. There are currently thousands of signal chains—or, as Waves calls them, “chains”—on the StudioVerse website to choose from.

currently own one of the plug-ins in the chain, then you will either buy that plug-in or subscribe to Waves Creative Access to get access to said missing plug to complete the signal chain.

So yes, you can continue to use your waves plug-ins within Studio Rack in the ways you always have; however, once you start to access StudioVerse it quickly becomes clear that Studio Verse is optimized to work best with one of the Creative Access tiered subscription plans (the first two StudioVerse signal chains I selected at random had a missing plug-in that I don’t own in the signal chain I was checking out). Granted, you can remove the plug-in that you don’t own and replace it with one that you do own in the selected StudioVerse signal chain. Either that, or you will need to purchase one of the Creative Access tiered subscription keting approach or not, the concept of AI enabled products is likely here to stay. From a manufacturing standpoint, one of the big advantages of an AI enabled product delivery system is that it opens the possibility of multiple manufacturers to participate in each vendor’s business model (Waves in this case has opened their architecture to VST 3 enabled plug-ins) while keeping control of the front and back-end delivery. I predict more interaction between manufacturers in the future, resulting in more and more integration of software and development of innovative hardware products, and that’s, I believe, in the long run a good thing. Social Media is obviously playing a big part in the StudioVerse business model and Waves is using their long history of relationships with famous and iconic mix engineers

Waves Studio Rack gives you a sophisticated way to manage your mixing and mastering chains in addition to giving you the ability to load signal chains from iconic engineers, producers, and chains provided from Waves’ vast end user database. Waves Studio Rack is available as a free download via Waves Central or as a download as part of one of the tiered Creative Access subscription-based business models. The ability to import plug-in chains into Studio Rack has been available in Studio Rack for quite a while; the big difference is Studio Rack has now been re-engineered to be the front end of StudioVerse.

Browsing through the StudioVerse website, clicking on any of the available signal chains will show what plug-ins are required to complete the selected signal chain, and what subscription tier in which said plug-in is included. If you don’t models to complete the signal chain. There is also the option to demo the plug-ins you don’t have. You can install the entire Waves catalog and all the plug-ins you don’t own will work in demo more with periodic mutes, enabling you to try out all the chains in StudioVerse.

There was and is a good deal of controversy surrounding Waves’ decision to stop offering perpetual software licenses for its products, a decision that Waves reversed shortly thereafter when they reinstated being able to purchase individual plug-ins. Currently, you can still buy perpetual licenses to individual plug-ins, which Waves may or may not update same in the future. Yes, Waves will continue to provide updates to plug-ins purchased outside of the StudioVerse ecosystem.

Whether you agree with the Waves mar- and producers to promote the platform.

Many Waves users will likely find the collaborative aspect of StudioVerse a great way to manage their favorite mixing and mastering plug-in chains and learn how to craft signal chains from more experienced Waves users. Other users may not agree with the StudioVerse business model and will vote with their wallets by signing up for one of the other plug-in platforms available in the marketplace.

Check out the Waves website for more information on StudioVerse and pricing for the different subscription tiers. Waves offers a free seven-day trial to StudioVerse, after which you will be billed monthly or annually.

For more information on Waves StudioVerse, check out waves.com/studioverse

Contact: taylor@trendpr.com

Web: spotify.com

Seeking: Booking, Label

Style: Indie Rock

Easy to see why Seattle duo Scott Johnson and Ben Carson have nailed song placements already. They put together attractive, commercial-sounding songs with savvy arrangements and, best of all, each tune is delivered by a voice that is ideal for the band’s sound. “All Night” is a good example, with its sultry, sexy mood and lead voice that emits an undercurrent of urgency. “Dine In” has interesting, relatable lyrics (including an LSD trip) and a catchy chorus about commiting to a budding love relationship. (Its chorus could have been a bit bigger?)

”Hotel Room” shows that this duo excels at songs about liaisons and relationship issues. Each recording is tight, contained, never overproduced. Just right.

Contact: rashaann10.karma@gmail.com

Web: linktr.ee/rashaann_karma

Seeking: Review

Style: Hip-Hop

N.Y.C. emcee Rashaann channels the old school on his latest release Far From Home. The title track clocks in at over 8 minutes, and, right out of the gate, Rashaann raps quickly reflecting on his past and present, encouraging through the lessons he’s learned. Given the length, you can imagine there is movement, though we feel there is not enough variance in his delivery or the smooth jazz instrumental. “Unfinished Business” features an exciting crunch rock guitar on a loop. The song sounds like a cypher by De La Soul or Bone Thugs-N-Harmony, with multiple guests and fluid verses. “Times Like This” is emotional and observational, with enticing soul samples spiced up with Rashaann’s jokes and wordplay.

Contact: christyfisher@earthlink.net

Web: christyfishermusic.com

Seeking: Booking, Film/TV

Style: Singer-Songwriter

There’s a sincerity and honesty that fills the voice of Christy Fisher in these simply arranged recordings, along with its rich vibrato tone, that gives her plainspoken lyrics the ability to connect and engage with the listener. She is best at conjuring images from her past, as in “The River” where Fisher recounts how at 13 she discovered her daddy’s rusty guitar and began her musical journey. She again sings about her own life and development in the piano-driven song “Lucky” (“I’m the best friend I’ve ever had”). Amid chiming bells, “Mystery” dispenses well-considered advice to a close friend. It’s a song whose heartfelt statements would make it a powerful, showstopping, wedding-pledge song.

Noah Riley Teal

Contact: tsmith@milestonepublicity.com

Web: spotify.com

Seeking: Booking, Mgmt, Label

Style: Southern Rock

Ordinarily, these recordings would be impressive. But when you consider they’re from an artist still in his teens, it gives it a whole ‘nother boost. “Shoulda Seen The Other Guy” is powered by a bold beat, blues-rockin’ riffs, and a gutsy voice that’s perfect for the material. Lighter and upbeat, “I’m Coming Around” has a great chorus along with finger-picked electric guitar, tasty organ parts, female backup singers, and harmonies that build-and-drop effectively. With piano, organ and, of course, guitar (not to mention a small church choir), Teal nails the classic Allman Brothers ballad sound with “Georgia Eyes” his paen to the Peach State. Somebody quick! Get this kid an opening slot with Tedeschi-Trucks!

Cody Lawless

Contact: shane@thesyn.com

Web: codylawless.bandcamp.com

Seeking: Review

Style: Pop, Indie, R&B

Vancouver-based singer-songwriter Cody Lawless defies all the gloomy Guses out there and generates music that is fun and blissful. Armed with his indefatigable falsetto, Lawless delivers his best tune, the flirtatious, sexy-lite “Grace,” one of those songs that strikes you instantly and won’t let go, right down to the cool bridge and the bass solo that wraps it all up. Not as catchy or effective is “Get There, Stay There,” which has a similar energy, just not the same magic, despite the dreamy backup vocals. Lawless gets back on track with “Friday Night With the Neighbors,” which has a slower, studied pace, and is downright easygoing, not to mention catchy. This artist offers ideal sounds for the summer.

Contact: contact@thevignatis.com

Web: thevignatis.com

Seeking: Label, Film/TV, Booking

Style: Rockabilly/Gypsy Jazz/Country

Here’s a unique, unusual amalgam: vintage rock & roll with an Eastern European kick. They call it “gypsybilly” and “electrobilly” and it’s a volatile mixture. On the upside, this culture clash can be cute, clever and entertaining. But it can also fall a bit flat, demonstrating how uneasy a combination this can be. The performers’ accents are continuously present, and though it sounds fresh and endearing sometimes, it often doesn’t. “Bop, Hop & Roll” namechecks Jerry Lee Lewis, Eminen, and Tupac. “New Direction” rides a daring techno pulse. “Red, White & Blue” is a tribute to the U.S.A. The duo’s winning, patriotic spirit and superior musicianship could find its home as a popular theatrical presentation in Branson, MO.

Contact: solomusicpublishing777@solomusic publishing.com

Web: Soundcloud

Seeking: Label, Booking, Film/TV

Style: Hip-Hop, Rap, R&B

We felt relieved when hearing “The Way” by GXD DAMN ACE did not open with dreary trap cliches, rather stark, dark lounge piano and synth loops leave room for ACE to take charge of the track. The sing-songy refrain is ACE’s mission: We lost a few. They lost a lot. “Disloyal” builds to become a list of people who have wronged the emcee first verse is friends and rivals, then moves on to romances, though shouting “You disloyal bitch” is gratuitous. “Real Shooters” gets the old-timey phonograph treatment in its production, with dramatic bounce drum beats. Points are deducted for lazy songwriting. The phrase “Bitches on my dick,” is meaningless and redundant. Expand your vocabulary.

Contact: info@raphael-fimm.com

Web: raphael-fimm.com

Seeking: Fim/TV, Label, Distribution

Style: Soundtrack, Film Music

Soundtrack composer Raphael Fimm knows his stuff, crafting pieces that are pristine, professional, transporting. That describes “Magic Kingdom,” which with its gentle, idyllic flute, its strings and horns that swell and rise, emit a full Disney sheen. This concise piece paints a picture of wonder. And if you want music that conjures Drama, Love, Fantasy, Horror, Documentary, Fimm has an array of themes, such as “Grenzerfhrugen,” with its calming piano, its soothing strains. Short but intriguing, “Prolog” features a repeating piano figure that shifts things to an expectant, overcast mood to prepare the listener for something perhaps more serious and dramatic to occur. Quality stuff.

Contact: shane@thesyn.com

Web: s.disco.ac/bghzakonmo

Seeking: Review Style: Indie

Big Girl are an ambitious band, working to break the mold, fusing an array of elements into their songs, defying the tried and the true. All of their work, plus or minus, is supported by sharp, superior musicianship. “Instructions 2 Say Sorry” has an extended instrumental intro before moving into alt-rock mode. Singer Kaitlin has a theatrical, show-tune quality that seems stilted, out of place. Stronger is “Forever” a dark, atmospheric ballad where the lead vocal attains a higher register and suggests a Billie Eilish energy. The hypnotic “Black-Eyed Susan” has horns, a cool cadence, a big high in the lead vocal, a drum explosion, and absolutely angelic backup singers. Big Girl is a tight, rockin’ band that needs more time and effort to fully gel.

Contact: info@eastbaysoul.com

Web: eastbaysoul.com

Seeking: Label, Mgmt, Booking, Film/TV

Style: Soul

Adams attains a remarkably authentic vintage-soul sound on his album The Real, showcasing a soul/funk power that’s on full display in the title cut, which is powered by a heavy, super-funky bass line, a horn section, and smooth, classy strings. And all of it is topped off by Adams’ lead voice, crooning “Baby, I’m the real deal!,” which is altogether well-suited to this material. The classic Motown-sounding “Baby, Please Stay” rides a 12/8 time sig and a strong string section that adds a gleam of grown-up sophistication to the singer’s heart-felt plea: “I wanna be loved by you!” Finally, adding substance to it all is the jazzy, trumpet-fueled instrumental “Dreams Come True.” Very nice work all around.

Contact: rachel@trendpr.com

Web: malachytuohymusic.com

Seeking: Booking, Film/TV

Style: Indie Folk

Tuohy hails from Ireland, and his accent is readily available on these unusual songs, in which his lead vocals are disarmingly plain-spoken yet somehow affecting. The song has a simple accompaniment, including brushes to keep the beat and a pedal steel guitar that lends a celestial touch. Tuohy’s simple, straightforward statements and observations are ultimately spot-on. “Lemonade” shows Tuohy as a born optimist, both real and human: “You made me feel better. That’s what your lemonade does.” Finally, the artist delivers perhaps his most engrossing song, “I Cross This Universe,” where, with his voice fx’d with celestial reverb and a piano accompaniment, he sings “I believe in us.” And you believe him.

Contact: danithompson@dntagency.com

Web: emiliavaughn.com

Seeking: Label, Booking, Film/TV, Radio Style: Alternative, Pop

San Diego-based singer-songwriter has such a gentle soul that is captured on these very well-produced tracks, such as “Watch The Moon” where with her soft sweet voice Vaughn thrives amid a deceptively simple arrangement, enhanced with electro mood enhancers, that builld the energy as they go. “Sunflower” is in a similar vein, achieving an artful intimacy (mostly just her voice and a guitar) that allows the artist to communicate her deepest feelings. “French Film” is another relationship song, but the mood and energy is quite different—the song is about a troubled relationship (“I’m detailing all your lies.”)—right up to the climactic, unexpectedly aggressive rock-riff outro. Nice.

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

Secretly Canadian

Producers: Aja Monet and Chief Adjuah

Prajin Records/Double D Records

Producer: Peso Pluma

Aja Monet speaks on love, angst and the ongoing cultural experience of living as part of the African American diaspora. Between earthy drumming, intense bass lines and percussion that build towards freeform vocal embellishment, Monet’s words land powerfully and poignantly. With syncopated underpinnings of jazz, Latin and African sound with contributions from Christian Scott, Weedle Braimah, Marcus Gilmore, and Elena and Samora Pinderhughes, Monet’s album creates a delicious and soulful rhythmic journey. – Andrea Beenham

Starcatcher

Lava/Republic

Producer: Dave Cobb

Grammy-winners GVF return spotlighting

10 slices of modern rock, with a classic feel. This album shows remarkable growth from their previous releases. Their lyrics are more narrative and pair seamlessly, with a knack for raw production and extensive arrangements. Nashville wizard Cobb really brings out the best in the band, eliciting strong riffs from guitarist Jake Kiszka and superlative harmonies from all involved. Noteworthy are the keyboard and sonic textures of “Fate of the Faithful.” – Eric Harabadian

Violinjazz Recordings

Producers: Jeremy Cohen & Gordon Goodwin

Grammy nominated violinist Jeremy Cohen, of Quartet San Francisco, teams up with Grammy winning Gordon Goodwin for an epic, heartfelt and ambitious celebration of a 20th Century jazz musical giant whose contributions to jazz and swing are often overlooked in comparison to his dozens of compositions that were appropriated for classic Looney Tunes and Merry Melodies cartoons. The producers also bring in another Grammy-winning element, gospel/R&B a capella greats Take 6, to bring a deeper, soul-jazz flavored humanity to the project. – Jonathan Widran

Green Flag Activity, Vol. 2

Never Boke Again/Motown

Producers: Various

With a “rap sheet,” pun intended, as sizable as his discography, YoungBoy has had numerous criminal run-ins and civil lawsuits. Because of these “green flag activities,” YoungBoy has enough material to keep his musical career going. But Vol. 2, though energetic, is redundant, watered down, and irresponsible in the way that most of his music has been able to cater and cultivate young rap listeners to be passive aggressive, emotional, and poorly misguided. – Adam Seyum

One of the most streamed recording artists in Latin America, the 23-yer-old Peso Pluma brought several collaborators into the fold for this LP, but one of the most dynamic vocal performances comes during his “PRC” duet with Natanael Cano. Overall, Génesys is a regional Mexican/trap corridos album that showcases Peso Pluma’s cultural roots, vocal versatility, raspy tone and multi-faceted songwriting skills—all of which are evident in the album’s final track, “Bye.” – Miguel Costa

Passage

Blue Note

Producer: Johnathan Blake

Drummer Johnathan Blake celebrates his father and mentor John Blake, Jr. by reconvening his powerhouse quintet Pentad. Stirring up an expansive array of colorful moods—from bustling/burning bop to more lyrical, exotic rhythmic and impressionistic abstractions—Blake, Immanuel Wilkins (alto sax), Joel Ross (vibraphone), David Virelles (piano) and Dezron Douglas (bass) prove their mastery in the fine art of keenly intuitive melodic, harmonic and improvisational conversation. – Jonathan Widran

Rosie

Arista Records

Producers: Benzi, Afterhrs, Johnny Simpson, Johnny Shorr

Rosie’s latest shares beautiful vocals and catchy, singalong hooks in a collection about love, loss, and learning to walk away. Opening with her song of regret, “Next Life,” uplifting pop jam “Someone You Once Had” follows with clean delivery and a great use of tension to build layers of sound. Angst follows in “Startover,” and “I Should Just Go To Bed” presents beautiful melodies and soft storytelling. Admitting to a deluded lens on love, syrupy anthemic track “Potential” closes the EP. – Andrea Beenham

Earache Records

Producer: Julian Emory

Smile represents somewhat of a return to form for Skindred. After the comparatively digestible bent of 2018’s Big Tings , the Welsh rastacore darlings have reverted back to the heavier vibe for which they’re better known, and thank Jah for that. Opener “Our Religion” is a jaw-dropper. Other gems include “L.O.V.E. (Smile Please),” “Black Stars” and “Mama,” but every track feels just right. Go high volume with this one and scrape the enamel off your brain. – Andy Kaufmann

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

The Moroccan Lounge Los Angeles, CA

Web: annabelleemusic.com

Contact: ari@aristake.com

Players: Annabel Lee, vocals, keyboard, guitar; Zac Pannell, guitar; Dylan Haden, drums; Sherome Petty, bass

Material: Annabel Lee is a mix of punk, rock and pop all rolled into one. It is a Wendy O meets Adele who had babies and named them Katy Perry and Pink. The music is high-energy, with twists and turns everywhere you listen. A rollercoaster ride of sorts as Annabel Lee’s vocals resonated throughout the Moroccan Lounge. Her vocals are very reminiscent of Adele, with that powerful delivery that only comes from the gut, and with a Wendy O delivery that keeps everyone on their toes.

Musicianship: The musicianship was very good, as all the players were on queue. The rhythm section stayed on point and that kept the show flowing smoothly. Haden and Petty are a great duo and the dynamics between them is undeniable. Petty is a very strong player as he made his bass sing with soulful voicings and was complemented nicely by Haden’s timely thumping. Pannell is a great rhythm guitar player who kept mostly to playing rhythm as Lee turned in a nice vocal performance.