Most of us can't afford to have Tony Maserati mix our tracks — but thanks to Waves, we can now use his personal effects and processing chains in our own mixes. I have, on occasion, suggested that music technology software might be made easier to use if it was approached from the musician's point of view rather than the engineer's. Waves have clearly taken steps in that direction with the Maserati suite of plug‑ins, developed in conjunction with award‑winning mixer Tony Maserati. Maserati has worked with artists as diverse as Black Eyed Peas, Beyonce, Alicia Keys, Macy Gray, Sting and David Bowie, and in March 2007's Inside Track feature (), he talked to SOS about his work on John Legend's 'Save Room'.

Tony Maserati has his own favourite signal‑processing chains for specific applications, and what Waves have done is recreate those chains in software, bringing out only those controls that Tony would normally adjust during a session and leaving the rest hidden. The result is that with just a handful of knobs and buttons, you can arrive at a highly produced guitar, bass, voice or drum sound very quickly. There's no clue as to what original hardware components are emulated in any of the plug‑ins or processing modes, but then that doesn't really matter: this suite of plug‑ins should be judged on its results. While stripping the controls down to a bare minimum may rob the more advanced user of some flexibility, the idea is that the sense of instant gratification you get as soon as you switch them into the signal path should more than make up for this. Running in native mode on both Macs and PCs, the Maserati Collection supports the native VST, AU, RTAS and Audio Suite plug‑in formats — there are no TDM versions. Protection is via iLok. The load and save format is the same as with other Waves plug‑ins, as is the ability to create and compare A and B versions, but there are no factory presets as such.

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Most of us cannot afford to have Tony Maserati mix our tracks — but thanks to Waves. The VX1 Vocal Enhancer makes all of this manageable using just a few.

Mono‑in, stereo‑out and stereo‑in, stereo‑out versions of each plug‑in are available. First up is the GTi Guitar Toner, which is a dedicated tool for polishing electric guitar sounds. The source guitar sounds can range from clean to overdriven, and the plug‑in can also be used to add colour and movement to electric pianos. The main thing to understand about this plug‑in is that it doesn't do guitar amp modelling or overdrive — it's there to allow you to polish the sound once you've recorded it, and this it does very well. GTi offers five modes, named Clean, Clean Chorus, Heavy, Thick Rhythm and Soft Flange. As with the other plug‑ins in the collection, some of the controls change as you switch modes, but the Sensitivity control is ever‑present.

This is accompanied by a three‑colour signal light to help you optimise the input level (necessary for any dynamic effects to work correctly), a round retro meter that can monitor either the input or output level, and an output level control. If you can get the lamp showing amber but not red during louder sections you're pretty much set to go, though you can occasionally get desirable effects by running the plug‑in slightly hot or slightly cold. All modes have Presence controls and all except Thick Rhythm have compression adjustment in the form of the Tame knob. In Thick Rhythm mode this is greyed out, while the FX section grows a second Presence control. The same control paradigm extends right through this range of plug‑ins; some controls are greyed out when not used in a particular mode, while some of the others change function. The individual effects within GTi are controlled via the smaller knobs at the bottom of the screen, which adapt to the types of effect being added.

For example, in Thick Rhythm mode you get to control the delay time, stereo width, vibrato and chorus on or off. There's always an FX level control to adjust the signal sent to the effects section.

In this mode, even with all the effects turned to minimum, there's a very subtle tremolo effect when the FX knob is turned clockwise, while the Vibrato knob, when turned up, gives a shimmering, almost rotary‑speaker‑style modulation. Clean mode adds no obvious effects but allows a useful degree of tonal change, as well as applying some dynamic processing, and, like all the mode settings, seems to include a low‑level expander or gate to keep pauses clean. All the other settings are quite obviously effected, but in a way that sounds good right out of the box. There's scope for adjustment, of course, but the overall effect is very slick‑sounding. Thick Rhythm, for instance, includes a very plausible doubling effect when you crank up the delay time (which is limited to a short slap‑back). It may not suit all guitar sounds or all songs, but in most instances it will help you make a good guitar sound even better, and if you want to go all‑out on the chorus or vibrato effects, you can. With all of these plug‑ins, whenever you switch to a different mode you get the default factory setting, after which you can make your own adjustments.