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Even if you don't buy this argument, it's always possible to achieve a broad-band cut by lowering the Q value. Waves say that this is because cutting is more often used to eliminate 'bothersome artifacts' whereas boost is more usually applied for general tone-shaping. The behaviour of the parametric bands, meanwhile, is asymmetrical, with the same Q value providing a broad frequency boost but a much narrower cut. In particular, shelf filters with high Q values exhibit a pronounced resonant peak, which Waves say is characteristic of the classic analogue Pultec design. Option-clicking and dragging on the coloured dots alters the Q value of the respective bands, and the Q setting works for the shelving filter types as well as the parametrics. The plug-in is supplied in two, four and six-band versions, each band offering a choice of parametric or shelving filter types, with the first and last band adding the options of high- and low-pass filters respectively. As soon as you move any of the coloured dots on the graphical frequency plot, you'll hear a clear change in the character of your source sound - and if you do apply anything like 12dBs of cut or boost, you may end up in special effects territory. If you've ever found yourself thinking 'But I've cut 12dBs and I still can't hear any difference!', then the Waves Renaissance EQ may be the plug-in for you. All EQs Are Not Created Equalĭigital EQ, like compression, can be too transparent for its own good. A transparent output limiter means you don't have to worry about boosting the make-up gain too much. Once again, the general bias is towards compression with a definite sonic character, and Renaissance Compressor tends to add a nice mid-range solidity to most sources. Unsurprisingly, the effect of the Warm setting is more noticeable on bass-heavy signals, and in other cases it can be hard to discern much difference.
The second gives you a choice of Opto or Electro, each providing a different flavour of vintage character, while the third offers you the choice of Warm or Smooth, the former acting on low-frequency information to add extra harmonics to the processed signal.
#Renaissance bass compressor free download manual#
The first switches between a fully manual release time setting and Waves' proprietary ARC auto-release mode, which uses the manual setting as a starting point, and can make the compression sound less obvious on some material.
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The main window offers the basic parameters that you'd expect from any compressor - attack and release times, ratio, and threshold and make-up gain levels - plus three radio buttons that change the compressor's behaviour. Renaissance Compressor is one of the most widely used Waves plug-ins, and also works on the principle that most users don't want to spend hours twiddling with controls in order to get results.
Buying the boxed version gives you a printed manual, while PDF-format documentation is accessed by clicking the question mark button on each plug-in (except for Renaissance Channel, where doing so generated an error on my system). It's also worth pointing out that the Waves plug-ins use their own system for storing and recalling presets rather than the host sequencer's, so if you do use them in different plug-in formats, you should be able to see all your presets in all the applications you use. Buying the TDM version, for instance, also gives you access to the native versions of each plug-in in all formats.
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One of the advantages of this 'shell' system over some rival plug-ins is that if you run several pieces of audio software which use different native plug-in formats, you should be able to run the Waves plug-ins in all of them.
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Pro Tools users can also run them off-line as Audiosuite devices, while those willing to pay out the extra can get TDM versions to run on their Mix or HD cards. The effects themselves are accessed through 'shells' which, on the Mac, allow them to be used as RTAS, VST or MAS-format native plug-ins, with Audio Units support promised soon. One of the best features of Waves' plug-ins is their almost universal compatibility with the bewildering array of formats out there.
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