The trick to getting the vocal to sit naturally in the mix is to adjust the Target and Music sensitivity controls after first setting the Vocal Sensitivity control so that only vocals are recognised and spill is ignored. Vocal Rider also includes Waves' own breath‑detection algorithm, so that the plug‑in doesn't turn up all the breath sounds. The time constants governing the speed of the fader are preset, but there is a fast Attack setting (which affects both the side‑chain and fader response rates) you can choose if you prefer the results it produces.

Target sets the reference level range for your vocal using a transparent fader cap, which moves over a horizontal bar meter showing the vocal level. This is, in essence, a threshold that tells Vocal Rider to ignore sounds below a certain level a Ride/Idle activity LED lights when an above‑threshold vocal has been detected. It is necessary for the program to be able to differentiate vocals from background noise, which is where the Vocal Sensitivity knob comes in.

Once you've levelled the vocal using Vocal Rider, you can apply compression more gently and more musically, using the plug‑in of your choice, as you no longer have to deal with large level variations. The plug‑in has a side‑chain input, and the best way to follow the mix level is to route all the instrumental sources in the mix to a bus and then select that as the side‑chain source. Up to 24‑bit, 96kHz operation is supported, and the plug‑in works in real time so you don't even have to 'learn' the track first. The plug‑in comes as mono and stereo versions and is protected by iLok you can also download a demo to try before you buy. The standard Waves window bar is provided for saving and loading presets and for comparing between 'A' and 'B' settings. Vocal Rider is a cross‑platform plug‑in available in TDM, VST, AU and RTAS formats, and works by writing automation data for its own level fader directly into your DAW. Now Waves have come up with a plug‑in that does the job for you in a very straightforward and elegant manner. This takes time, but invariably sounds better than bludgeoning your vocal to death with excessive compression. How do you get a vocal to sit at the right level in a mix? You listen to the vocal level in the context of any instrumental backing, and make fader moves to keep the vocal balanced against the rest of the mix. Vocal Rider in action, showing the resulting automation exported to a Logic track. No matter how many compressors we own, when it comes to getting vocal levels right, there's no substitute for faders and hard work.

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