At the minute 20:35 we can see Renaissance Compressor from Waves.

Used for Quavo and Offest's features on Beyoncé and Jay-Z's "Apeshit", as stated by producer Stuart White in this September 2018 Sound on Sound interview.

The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb.

White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.”

(...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

In a recent photo, Ozan Yildrim, also known as OZ, is seen using the Waves Renaissance Compressor Plugin.

In this video at 7:12 see Waves Renaissance Compressor Plugin

Im Musikvideo "Eloah" kann man bei 0:56 den Renaissance Compressor sehen.

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”

F1y Syn shared his project files with Logic Pro X at Splice, In the list of plugins, we can see that F1y Syn uses Waves Renaissance Compressor Plugin

In the article, Seth reveals that as apart of his vocal tracks on every project he works on he uses the Renaissance Compressor. Seth said “After that there's the Waves Renaissance Compressor, with which I smooth everything back down into a nice, squeezed waveform, and it’s only after that that I put on effects."