Best Waves Plugins for Mixing (CLA, SSL, API, and Renaissance Bundles Ranked)

Waves has one of the largest plugin catalogs in the industry — over 220 plugins spanning console emulations, hardware compressors, EQs, limiters, AI tools, and signature series from marquee engineers. The problem is not finding good Waves plugins. The problem is figuring out which ones actually matter for mixing in 2026, which ones are redundant, and whether the Waves Creative Access subscription or perpetual licenses make more sense for your workflow.

I have used Waves plugins across hundreds of sessions — hip-hop, pop, rock, electronic, and broadcast. This guide ranks the plugins I actually reach for, grouped by the mix tasks they solve. I am not going to list every Waves plugin. I am going to tell you which ones earn their place in a 2026 mix chain, which ones you can skip, and where the landscape is heading. This is written by YECK, founder of MixingGPT, and I will be honest about where Waves excels and where other tools do the job better.

If you are building a compression toolkit beyond just Waves, our best compressor plugins guide for 2026 covers FabFilter, UAD, and SSL alongside the Waves options. For EQ, see our best EQ plugins guide for 2026.

Ranked Comparison: Top Waves Plugins for Mixing

Here is the full ranking. The "Mix Importance" column reflects how often I reach for each plugin in a typical mix session — not just how good the plugin sounds in isolation, but how essential it is to getting a mix across the finish line.

"Sub" means the plugin is included in Waves Creative Access (Essential or Ultimate). "List" is the retail price — Waves runs sales almost monthly, so actual purchase prices are typically 50–75% lower.

1. CLA Series: CLA-76, CLA-2A, and CLA Vocals

The CLA series is Chris Lord-Alge's signature line for Waves, modeled after the hardware he uses daily. These are the plugins most engineers think of when they hear "Waves compression" — and for good reason. The CLA Classic Compressors bundle (CLA-76, CLA-2A, CLA-3A) is one of the best values in plugin mixing, frequently available for under $30 during sales.

CLA-76 — FET Punch for Vocals and Drums

The CLA-76 is modeled after the UREI 1176 Rev A (blue stripe) and Rev D (black stripe) — Waves includes both revisions. It captures the fast attack, aggressive character, and all-buttons-in mode that made the 1176 the most used compressor in mixing history. The attack and release are adjustable but operate within fixed ranges modeled after the hardware — most engineers set the attack near its fastest position, release to medium, ratio to 4:1, and drive the input until you see 5–10dB of gain reduction.

Where I use it: Lead vocals for that forward, in-your-face sound. Kick and snare for punch. Parallel drum bus with all-buttons-in for explosive room sound. Bass guitar for adding presence and cutting through a dense mix. The CLA-76 is one of the most versatile compressors in the Waves catalog because it works on almost any source that needs energy.

Where it falls short: The attack and release operate within ranges modeled after the hardware, which limits precise transient control compared to modern compressors. Tools like FabFilter Pro-C 2 offer lookahead detection and fully adjustable timing that the CLA-76 cannot match. For transparent compression, this is the wrong tool — it always adds character.

For a deep dive into how the 1176 fits into a vocal compression chain alongside the LA-2A and Vocal Rider, see our vocal compression guide. And for Chris Lord-Alge's actual hardware chain and mixing philosophy, our CLA mixing tricks breakdown covers it in detail.

CLA-2A — Optical Smoothness for Bass and Vocals

The CLA-2A is Waves' model of the Teletronix LA-2A optical compressor. Where the CLA-76 is fast and aggressive, the CLA-2A is slow and musical. It has two main controls — Peak Reduction and Gain — plus a Peak/Limit switch, and the program-dependent release adapts to your source material automatically. The optical circuit adds subtle harmonic content that enhances warmth and presence.

Where I use it: Bass guitar is the number one use case — the CLA-2A controls low-end dynamics while preserving note definition, and the optical character adds warmth that makes bass sit in a mix naturally. Lead vocals for smoothing out performances after the CLA-76 has caught the transients. Acoustic guitar for adding sustain and body. The CLA-2A is the yin to the CLA-76's yang — use them in series on vocals for the classic 1176-into-LA-2A chain.

Where it falls short: No attack or release controls. The compression is always gentle and program-dependent, so it cannot tame fast transients or provide aggressive control. For surgical dynamic work, you need a different tool.

CLA Vocals — The All-in-One Quick Chain

CLA Vocals packages six processing sections — Bass, Treble, Compress, Reverb, Delay, and Pitch — into a single plugin with fader controls. It is designed for speed, not flexibility. You cannot adjust the compressor attack time, EQ frequencies, or reverb decay — you can only blend the intensity of each section. For a full breakdown of what each section does and when to use it, see our CLA Vocals review for 2026.

Where it earns its place: Demo mixes, broadcast work, podcast production, and any situation where you need a vocal to sit in a mix in under 30 seconds. It is not a professional mix tool — the fixed parameters cannot adapt to different vocalists and genres. But for speed, nothing beats it.

2. SSL Series: E-Channel and G-Channel

The SSL E-Channel and G-Channel are Waves' models of the SSL 4000 series console channel strips. The E-Channel models the 4000 E console — the board that defined the sound of 1980s and 1990s rock, pop, and hip-hop. The G-Channel models the 4000 G console, which was SSL's updated version with a revised EQ and dynamics section. Both include a full channel strip: high-pass and low-pass filters, four-band EQ, and a compressor/expander/gate dynamics section.

SSL E-Channel — The Workhorse Channel Strip

The SSL E-Channel is the single most useful Waves plugin for mixing. It combines EQ and dynamics in one plugin, which means you can shape tone and control dynamics without loading multiple plugins. The EQ is the star — the SSL E-series EQ has a distinctive character where each band has fixed Q widths and selectable frequency centers. The midrange EQ is aggressive and punchy, which is why the SSL E-Channel is the go-to for drums, guitars, and any source that needs to cut through a mix.

Where I use it: Every drum track — kick, snare, toms, overheads. The EQ and gate combination is unbeatable for shaping drum sounds quickly. Electric guitars — the SSL midrange EQ adds presence and aggression. Bass guitar — the high-pass filter and low-end EQ control mud while the compressor tames transients. Vocals — when I want the classic SSL console sound on a vocal, the E-Channel delivers it in one plugin.

The dynamics section: The compressor is a VCA design with fixed attack and release ranges optimized for channel-level processing. It is not as flexible as a dedicated compressor, but it is fast and musical. The expander/gate is genuinely useful for cleaning up drum tracks — the SSL gate is legendary for tightening drum room mics.

SSL G-Channel — The Smoother Alternative

The SSL G-Channel has a slightly different EQ character — smoother highs, more musical lows, and a more flexible midrange. The dynamics section is also revised with a different character from the E-Channel. Many engineers prefer the G-Channel for sources where the E-Channel is too aggressive — acoustic instruments, orchestral material, and smoother pop vocals. The G-Channel is also excellent on the mix bus when used lightly — the EQ can add air and the compressor can add gentle glue.

Which to choose: If you can only get one, the E-Channel is more versatile — its aggressive character works on more sources. If you already have the E-Channel, the G-Channel is a complementary tool for when the E is too much. Both are included in Waves Creative Access Ultimate.

For more on SSL-style bus compression, the best compressor plugins guide covers the SSL G-Master Buss Compressor in detail, and our professional mix bus chain guide shows how SSL compression fits into a full bus chain.

3. API Series: API 2500, 550A, and 560

API (Automated Processes Incorporated) consoles have a distinct sound — punchy, warm, and aggressive. The Waves API series captures that character across a bus compressor (API 2500) and two EQs (550A and 560). These are the plugins I reach for when I need energy and attitude that the SSL series cannot provide.

API 2500 — Punchy Bus Compression

The API 2500 is a VCA bus compressor with a character that sits between the SSL G-Master Buss and the Empirical Labs Distressor. It has old and new gain-stage modes — old mode adds more harmonic content and grit, while new mode is cleaner. The thrust parameter controls how much the compressor reacts to low frequencies, which is useful for keeping the low end controlled without letting kicks and bass trigger excessive gain reduction.

Where I use it: Drum bus — the API 2500 is my go-to drum bus compressor when I want punch and energy. The old mode adds character that makes drums sound like they were tracked through an API console. Mix bus — when the SSL G-Master is too smooth and I need more attitude, the API 2500 delivers. Parallel drum compression — the API 2500 in old mode with heavy gain reduction on a parallel bus is a staple rock and hip-hop technique.

Where it falls short: It is not a channel compressor — the API 2500 is designed for bus-level processing and can feel too aggressive on individual tracks. For individual track compression, the CLA-76 or SSL E-Channel dynamics are better choices. The API 2500 also has a higher list price ($299) than the CLA compressors, though it is included in the Waves Creative Access subscription.

API 550A and 560 — Character EQ

The API 550A is a three-band EQ with selectable frequency centers and proportional Q, modeled after the API 550A hardware. The API 560 is a ten-band graphic EQ with the same API character. Both have the distinctive API sound — warm lows, punchy midrange, and smooth highs. The 550A's proportional Q behavior (the Q narrows as you boost or cut more aggressively) is a key feature that makes it musical and intuitive.

Where I use them: The 550A on drums and guitars where I want API character but do not need the full SSL channel strip. The 560 on drum buses and instrument groups for broad tonal shaping. The 560 is also useful on the mix bus for gentle tonal adjustments — a 1–2dB boost at 3kHz can add presence to an entire mix without sounding processed.

For a broader comparison of EQ plugins including FabFilter Pro-Q 4, SSL, and API options, see our best EQ plugins guide for 2026.

4. Renaissance Series: R-Vox, R-Comp, and R-EQ

The Renaissance series is Waves' original plugin line — these are the plugins that built Waves' reputation in the late 1990s and early 2000s. They have been updated over the years with improved algorithms and Apple Silicon native support, but the core designs remain. The Renaissance series is not modeled after specific hardware — these are Waves' own designs, optimized for practical mixing tasks.

R-Vox — The Fastest Vocal Compressor

R-Vox is a single-knob vocal compressor with three controls: Threshold, Output, and a gate. That is it. You set the threshold to control how much compression you want, adjust the output for makeup gain, and the gate cleans up silence between phrases. The compression is smooth and musical — not as transparent as FabFilter Pro-C 2, but faster to use than anything else on the market.

Where I use it: R-Vox is my first-move vocal compressor. Before I reach for a CLA-76 or a FabFilter Pro-C 2, I drop R-Vox on the vocal to get a quick baseline of how the vocal sounds with compression. It gets you 80% of the way there in 5 seconds. From there, you can either keep R-Vox and move on, or replace it with a more flexible compressor for fine-tuning. It is also excellent on podcast and voiceover tracks where speed matters.

For a detailed comparison of R-Vox against the 1176, CLA-2A, and Vocal Rider, see our vocal compression guide.

R-Comp — General-Purpose Compression

R-Comp is a straightforward compressor with threshold, ratio, attack, release, and gain controls. It is not modeled after any specific hardware — it is a clean, versatile compressor that works on almost any source. The key feature is the ARC (Automatic Release Control) mode, which automatically adjusts the release time based on the source material. In ARC mode, R-Comp behaves like an intelligent auto-release compressor that adapts to dynamics in real time.

Where I use it: R-Comp is a utility compressor — I use it on sources that need compression without character. Background vocals, synth pads, acoustic guitar, and any track where I want transparent dynamic control. It is not exciting, but it is reliable. The ARC mode is particularly useful on complex material like acoustic guitar strums where manual release settings can cause pumping.

R-EQ — Clean, Transparent EQ

R-EQ is a six-band parametric EQ with high and low shelves and bell filters. It is clean and transparent — no analog modeling, no saturation, just precise frequency control. The interface is simple but functional, with a real-time frequency display that shows your EQ curve.

Where I use it: R-EQ is my utility EQ for surgical cuts — removing mud from bass, taming harshness in cymbals, cleaning up room resonances. It is not a character EQ like the SSL or API — it is a tool for fixing problems. For tonal shaping and character, the SSL E-Channel or API 550A are better choices. For surgical precision, FabFilter Pro-Q 4 is more capable, but R-EQ is faster for simple tasks.

5. Scheps 73 — EQ, Preamp, and Saturation

The Scheps 73 is Andrew Scheps' signature plugin, modeled after the Neve 1073 console preamp and EQ. It combines a three-band EQ (high shelf, mid bell with frequency selection, low shelf) with a preamp saturation stage that adds harmonic content. The EQ is musical and warm — the Neve 1073 character is one of the most sought-after sounds in mixing, and the Scheps 73 captures it well.

Where I use it: Vocals — the Scheps 73 adds warmth and presence that makes vocals sound like they were tracked through a Neve console. The mid bell is excellent for adding body in the 200–500Hz range or presence in the 2–5kHz range. Bass guitar — the low shelf adds weight and the saturation adds grit. Acoustic guitar — the high shelf adds air and the preamp saturation adds analog character. Drums — on room mics and overheads, the Scheps 73 adds size and excitement.

The preamp saturation: The preamp stage is the secret weapon. Driving the input adds harmonic distortion that thickens and warms any source. At low settings, it adds subtle analog character. At higher settings, it adds noticeable grit and weight. I often use the Scheps 73 with the EQ bypassed, just for the preamp saturation on digital-sounding tracks that need analog warmth.

For more on saturation workflows, see our best saturation plugins guide for 2026.

6. H-Delay — The Go-To Delay Plugin

H-Delay is Waves' hybrid delay plugin, combining analog and digital delay characters in a single interface. It has tempo sync, dotted and triplet timing, modulation, feedback control, and a filter section. The interface is simple — a handful of knobs and buttons — but the sound quality is excellent. The analog mode adds warmth and character, while the digital mode is clean and precise.

Where I use it: Vocal throws — H-Delay synced to 1/8 notes with dotted timing is the classic pop vocal throw. Slapback on lead vocals — a single repeat at 80–120ms with no feedback adds width and presence. Drum bus — a quarter-note delay with high feedback on a parallel bus creates ambient drum effects. Guitar solos — tempo-synced delays that fill space between phrases.

Where it falls short: H-Delay does not have the advanced features of dedicated delay plugins like FabFilter Timeless 3 or Soundtoys EchoBoy. There is no ping-pong mode, no per-channel control, and the modulation is basic. But for 90% of mixing tasks, H-Delay is fast, sounds good, and gets the job done. For a comparison of delay plugins, see our best delay plugins guide for 2026.

7. L2 and L3 — Limiting and Multiband Limiting

The L2 Ultramaximizer is one of the most used limiters in the history of digital audio. It is a peak limiter with a lookahead buffer, threshold, and ceiling controls. The L3 Multimaximizer extends the L2 concept to multiband processing, splitting the signal into five bands and limiting each independently. Both have been used on countless hit records, and both are showing their age in 2026.

L2 Ultramaximizer

The L2 is a brick-wall limiter with a lookahead buffer and internal oversampling. It is simple — set the threshold to control gain reduction, set the ceiling to prevent clipping, and adjust the release time. The ARC (Automatic Release Control) mode adapts the release to the source material. For years, the L2 was the final plugin on every mix bus and mastering chain.

Where it stands in 2026: The L2 is still usable, but modern limiters like FabFilter Pro-L 2 and iZotope Ozone's Maximizer offer better transparency at high gain reduction levels. The L2 tends to produce audible distortion and pumping when pushed hard, while newer limiters handle the same levels more cleanly. For gentle limiting (1–3dB of gain reduction), the L2 is fine. For loud mastering, look elsewhere. See our best limiter plugins guide for 2026 for modern alternatives.

L3 Multimaximizer

The L3 splits the signal into five bands and applies limiting to each independently, with a global gain reduction control. The idea is to control the dynamic range of specific frequency ranges without affecting others — useful for taming aggressive highs or controlling low-end buildup. In practice, the L3 is a specialized tool that most mixing engineers do not need. For multiband dynamics control, FabFilter Pro-MB is more transparent and flexible. The L3 is best suited for mastering engineers who want frequency-selective limiting, and even then, modern alternatives like iZotope Ozone's Dynamic EQ module are more capable.

8. Clarity Vx Pro and Waves Tune Real-Time — AI Tools

Waves has been investing in AI-powered tools, and two stand out for mixing workflows: Clarity Vx Pro for noise removal and Waves Tune Real-Time for pitch correction. Clarity Vx Pro uses neural network processing, while Waves Tune Real-Time uses a traditional pitch-detection algorithm optimized for low latency. Both represent a different direction for Waves compared to their hardware emulation catalog.

Clarity Vx Pro

Clarity Vx Pro is Waves' AI-powered noise removal plugin. It uses a neural network trained on thousands of noisy recordings to separate vocals from background noise — air conditioning, room hum, traffic, fans, and more. The Pro version includes multi-band processing and ambience control, allowing you to remove noise without making the vocal sound unnatural. It is significantly faster to use than traditional noise reduction tools like Waves X-Noise, and offers a more streamlined workflow than iZotope RX's spectral repair for simple noise removal tasks, though RX remains more capable for complex restoration work.

Where I use it: Vocals recorded in untreated rooms — home studios, hotel rooms, mobile setups. Podcast and voiceover cleanup. Restoring old recordings with persistent background noise. Clarity Vx Pro is not a tool you need on well-recorded vocals in a treated studio, but for the real world where recordings are imperfect, it is genuinely useful.

For a broader look at AI-powered vocal tools, see our best AI vocal plugins guide for 2026 and our best AI audio cleanup tools guide.

Waves Tune Real-Time

Waves Tune Real-Time is a low-latency pitch correction plugin designed for live tracking and monitoring. It corrects pitch in real time with minimal latency, making it suitable for recording sessions where the vocalist wants to hear corrected pitch in their headphones. It is not a full-featured pitch editor like Melodyne — it is a quick-fix tool for tracking and live performance.

Where it stands in 2026: For professional pitch correction, Antares Auto-Tune Pro 11 and Celemony Melodyne 5 are the standards — see our Auto-Tune Pro 11 vs Melodyne 5 comparison. Waves Tune Real-Time is a budget alternative for engineers who need quick pitch correction during tracking without investing in a dedicated pitch editor. It is included in the Waves Creative Access subscription, which makes it a convenient add-on if you are already subscribed.

9. Waves Creative Access Subscription vs Perpetual in 2026

Waves' pricing model has been a topic of debate since the launch of Creative Access in 2023. Here is where things stand in 2026 and how to decide which model works for you.

Waves Creative Access Subscription

Two tiers: Waves Essential at $14.99/month (or $149.99/year) includes 110+ plugins. Waves Ultimate at $24.99/month (or $249.99/year) includes the entire catalog of 220+ plugins. The subscription includes all version updates, new plugin releases, and access to StudioVerse — Waves' online preset chain community with AI-powered search. If you use more than 3–4 Waves plugins regularly, the subscription pays for itself compared to buying perpetual licenses individually.

Perpetual Licenses

Waves still sells perpetual licenses, but with caveats. Individual plugins range from $29.99 (CLA-76, CLA-2A, R-Vox) to $299 (SSL E-Channel, API 2500). Waves runs sales almost monthly, so actual prices are typically 50–75% lower. A perpetual license gives you the current version forever, but since the Creative Access shift in 2023, perpetual holders may not receive future version updates. If a DAW update breaks compatibility, you would need to repurchase or subscribe.

How to Choose: Which Waves Plugins Do You Actually Need?

Three scenarios based on real mixing workflows:

• You mix primarily hip-hop, pop, and electronic vocals. Start with CLA-76, CLA-2A, R-Vox, and H-Delay. The CLA-76 handles aggressive vocal compression, CLA-2A adds smoothness, R-Vox is your quick baseline, and H-Delay covers vocal throws. Add Scheps 73 for EQ and warmth. This stack costs under $120 perpetual during a sale or is included in Waves Essential at $14.99/month. For vocal chain techniques, see our step-by-step vocal chain guide and our hip-hop vocal chain guide.
• You mix full-band productions — drums, guitars, bass, vocals. You need the SSL E-Channel as your foundation. Add the API 2500 for drum bus compression, CLA-76 and CLA-2A for vocal and bass compression, and H-Delay for effects. The Scheps 73 adds Neve character where needed. This is the Waves Ultimate territory — subscribe at $24.99/month to get everything. For drum mixing techniques, see our drum mixing guide and for bass, our bass mixing guide.
• You are on a tight budget and need maximum value. Buy the CLA Classic Compressors bundle (CLA-76, CLA-2A, CLA-3A) for $29.99 during a sale. Add R-Vox for $14.99 on sale. That is under $45 for four compressors that cover vocals, drums, and bass. Skip the SSL and API plugins until you can afford the subscription — the CLA compressors alone will carry your mixes a long way. For free alternatives, see our best free AI mixing plugins guide.

Where Waves Plugins Are Going Next

Three trends are shaping the future of Waves plugins in 2026 and beyond.

1. AI tools are expanding beyond noise removal. Clarity Vx Pro proved that Waves can build effective AI-powered processing tools. Expect to see AI-assisted features in more plugins — intelligent preset recommendations, source-aware compression, and possibly AI-driven EQ suggestions. StudioVerse's Musical AI search is the first step, but deeper integration of AI into the plugins themselves is inevitable. For a look at where AI mixing is heading, see our best AI mixing plugins guide.

2. The subscription model is consolidating the plugin market. Waves Creative Access is pushing the industry toward subscription bundling. Plugin Alliance, UAD, and SSL have all launched subscription tiers in response. The implication for mixing engineers is that plugin selection is becoming less about individual purchases and more about choosing an ecosystem. Waves' catalog is the largest, which gives them an advantage — but it also means engineers need to evaluate whether they actually use enough Waves plugins to justify the subscription.

3. Hardware emulations are reaching diminishing returns. The SSL E-Channel, CLA-76, and API 2500 are already excellent emulations. Future updates will offer marginal improvements in modeling accuracy, but the gap between plugin and hardware is already small enough that most listeners cannot tell the difference. The real innovation is happening in AI tools and workflow features, not in more accurate hardware models. This means the plugins you buy today will remain relevant for years — there is no urgent reason to wait for the next version.

Frequently Asked Questions

What are the best Waves plugins for mixing in 2026?

The best Waves plugins for mixing in 2026, ranked by importance, are: SSL E-Channel for channel-strip processing, CLA-76 for FET compression on vocals and drums, CLA-2A for optical compression on bass and vocals, API 2500 for mix bus and drum bus compression, R-Vox for quick vocal compression, Scheps 73 for EQ and saturation, H-Delay for creative delay, and L2 for limiting. The SSL E-Channel and CLA compressors are the most essential — they cover the widest range of mix tasks.

Is Waves Creative Access subscription worth it in 2026?

Yes, if you use more than 3–4 Waves plugins regularly. Waves Essential at $14.99/month includes 110+ plugins and Waves Ultimate at $24.99/month includes 220+ plugins. The subscription includes all updates and new releases. If you only need one or two plugins like CLA-76 or R-Vox, perpetual licenses at $29.99 each (frequently on sale for $14.99) are cheaper long-term, but you may not receive future version updates.

What is the difference between Waves SSL E-Channel and SSL G-Channel?

The SSL E-Channel models the SSL 4000 E console channel strip with its dynamics section and four-band EQ. The SSL G-Channel models the SSL 4000 G console, which has a slightly different EQ character and a more flexible dynamics section. The E-Channel EQ is known for its aggressive midrange character, while the G-Channel EQ is smoother and more musical. Most engineers use the E-Channel for individual tracks and the G-Channel on buses or when they need a more transparent tone.

Are Waves plugins compatible with Apple Silicon in 2026?

Yes. All current Waves plugins run natively on Apple Silicon (M-series) chips without Rosetta translation as of Waves Central v14. They are available in VST3, AU, and AAX formats, compatible with Pro Tools, Logic Pro, Ableton Live, FL Studio, Studio One, Cubase, and Reaper on both macOS and Windows.

Should I get CLA-76 or CLA-2A for vocal compression?

Both. The CLA-76 is a FET compressor modeled after the 1176 — fast, aggressive, and ideal for adding punch and forwardness to vocals. The CLA-2A is an optical compressor modeled after the LA-2A — smooth, musical, and ideal for leveling and warmth. Many professional vocal chains use both in series: CLA-76 first for transient control, then CLA-2A for smooth leveling. If you can only choose one, the CLA-76 is more versatile across genres.

Is the Waves API 2500 better than the SSL G-Master Buss Compressor for mix bus?

Neither is universally better — they serve different purposes. The API 2500 is a VCA compressor with a punchier, more aggressive character and optional new/old gain stages, making it excellent for drum buses and mixes that need energy. The SSL G-Master Buss is smoother and more transparent, making it the go-to for general mix bus glue. Many engineers use the API 2500 on drum buses and the SSL G-Master on the mix bus. For a detailed comparison, see our best compressor plugins guide for 2026.

Reviewed and verified in June 2026. Pricing reflects Waves Creative Access subscription (Waves Essential $14.99/month, Waves Ultimate $24.99/month) and perpetual license prices as of June 2026. All plugins compatible with Pro Tools, Logic Pro, Ableton Live, FL Studio, Studio One, Cubase, and Reaper. Apple Silicon native support confirmed via Waves Central v14. Format support: VST3, AU, and AAX on macOS and Windows. For the latest compression techniques, see our best compressor plugins guide and vocal compression guide.