Waves Renaissance Equalizer Plugin

The REQ 6 is visible in a Cubase effects insert in the far left of this August 23-24, 2011 photo of Zedd's laptop in Interscope Studios for the song "All Because of You". The source can be found [here](http://photo.rukes.com/zeddstudio/slides/zeddstudio%20051.html).

if you pause at 0:06 you can spot it between waves C4 and waves L2

"waves bundle fx are very good, we use the C4, the Rcomp, the REQ and the L2 a lot"

you can see the Waves Renaissance plug-in at 6:48 in the video attached

The Waves Renaissance EQ Plugin is used later in the vocal chain to clean up Chaz's vocal tracks.

At 3:51, Sub Focus pulls the Waves Renaissance EQ onto his screen.

Noah 40's processing chain for the sawtooth bass synth included Waves' Renaissance EQ and Bass, and Avid's Lo-Fi, a big favourite of his. for drakes mixing

In this pic we can see Req 6 from Waves.

In this article by Waves, Mark Ronson states "In terms of plugins, Waves have been part of my workflow since I ran my first session in Pro Tools back in 2000 with Nikka Costa. The Waves stuff was our bread and butter on those, especially the Renaissance series. The Renaissance EQ and Renaissance Vox plugins are things I learned on; I know them so well, they’re engraved in me like muscle memory. They’re great, they don’t take up a load of my CPU and I can use them quickly and move along with what I’m doing. The one plugin I use the most is probably the CLA-3A compressor. That was something I picked up from [producer] Jeff Bhasker when we were working on “Uptown Funk.” You throw it on a vocal or a bass track, and it makes everything a little tougher and also makes the mix just a little more centered."

in the top left corner you can see the Waves Renaissance Equalizer 6 plugin

Used on "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.” > (...) Beyoncé’s lead vocal tracks consist of three aux tracks, four ‘dirty’ and eight ‘clean’ audio tracks. The audio tracks only have the EQ3 on the inserts and a few of them have a send to the Church Reverb. All White’s processing is done on the three aux tracks. “All lead vocals are sent to the ‘B Aux’ track and the ‘B Parra Aux’ tracks. On the former I have the McDSP DS 555 de-esser. I use the Waves de-esser the most, but in this particular track, because I wanted to compress her voice really hard, I felt that the 555 would work the best. I am rolling off until 6144Hz into what it is detecting; it’s like a side-chain filter. The FabFilter Pro-DS is doing a little more gentle look-ahead de-essing. > “After that there’s some pretty heavy EQ from the EQ3, with a high-pass at 142Hz, a 9dB cut at 244Hz and a 2dB cut at 3kHz. My cut at 244Hz is because she is singing in this husky, low voice, so there’s not a lot of energy in that. I get the energy from the RComp compression, and the EQs, including from the SSL E-Channel, are there to make her sit in the track, rather than making it sound filtered. I love the RComp, mainly because it doesn’t sound like compression to me. The SSL E-Channel adds a bit more compression, and the [Crane Song] Phoenix II Tape Emulation is really cool because while it doesn’t actually sound like tape, it smoothes out transients in a signal just like much analogue equipment does. It enables me to get a fatter vocal sound that again makes the vocal sit in the mix. The final EQ3 has a notch at 3.2kHz to take out some harshness. I also have sends to the Verb aux track, which are the D-Verb and [Waves] H-Reverb, and the Delay 1-4 aux, with the EchoBoy. > The other aux track, ‘B Parra Aux’, is a parallel compression track, with the RCompressor and the CLA 76, which I mixed in low. Both these aux tracks then go to the ‘LD ALL Aux’, on which I’m doing some more surgery with the McDSP AE400 [dynamic EQ], which allows you to set a threshold, just like on a compressor. It’s like turning a volume knob down on a frequency the moment it gets out of control. Finally, there’s the Waves C4, for some control, to keep the vocal even. This track has a lot of energy, so this is an example of using compression for energy, mood and attitude. I also worked a long time to get the compression on Bey’s breaths to pump on the beat. I wanted her breaths to be another percussive element in the track, and getting the attack and release on the compressor right was key to getting that feel and pumping effect.” > Five of the 22 Beyoncé ad lib, backing and harmony vocals below her lead vocals also go to the above-mentioned aux tracks, while the rest have their own signal chains. These audio tracks are sent to several aux tracks, often with tons of plug-ins, and all aux vocal tracks in the end get sent to the ‘Voc All’ group aux right at the top of the session, which has an RCompressor, with ratio at 10:1. There are more group aux tracks, like ‘TrackAux’, ‘FX Voc Aux’, ‘FX’ and ‘Music Aux’, which all get sent to the ‘All Aux’. This in turn gets sent to the ‘no limiter’ mix print track, and finally there’s a Stereo Master track.

Henry Fong is seen using the Waves Renaissance Equalizer Plugin on [Splice](https://splice.com/henryfong/henry-fong-j-trick-scream-original-mix).

Used on "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.” > (...) Jay-Z’s part consists of just two tracks, one lead, and one ad-lib, with an additional ‘reverse’ track, and a ‘jay clean’ track. White: “The main lead vocal track has the SSL E0-channel, Waves C4 multiband compressor for some control, FabFilter Pro-Q2 EQ, with a few notches, and McDSP AE400. Where Jay raps ‘Tell the Grammy’s fuck that 0 for 8 shit / have you ever seen a crowd goin’ apeshit?’, you can hear some stuff in the background, which is another example of me adding flair and energy. That actually comes from the third ‘Voice Sample’ track further up the session, on which I have some automated plug-ins, the ReVibe, Waves S1 Imager, and filter sweep from the EQ3. It’s subtle, but it gives you a little ear candy.”

In this video at 9:55 René from Black Sun Empire uses this plugin to "add some more EQ" in the process of designing a reese bass.

This plugin can be seen at 15:12 in Future Magazine´s interview with Jonas Blue

"What you know about peak controlling in Cubase?"

Used for the vocals on "Save Room", as stated by mix engineer Tony Maserati in this March 2007 *Sound on Sound* interview. Images of the settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack11d-x327hYQRoZEEG90ImLY38NgolOFYVSkM.jpg) and [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack12d-JQ2PboTZAPJulW5IodguegslMgiRLwxZ.jpg). > **Vocals: McDSP Filter Bank E6, Waves Renaissance Compressor, Renaissance EQ, L1 Ultramaximiser** > "The song has two lead vocal comps, on tracks 48 and 49. You can see that I'm using a lot of plug-ins on those: I'm doing a lot of drastic stuff. They were probably recorded on two different occasions with two different engineers who didn't take the time to match the performances by using the same microphone and signal chains. I get really pissed at this lack of effort on the part of recordists — there are standards in engineering. John Legend is a phenomenal vocalist and before he comes into your room to record, you should reach out to other engineers who have recorded with him to find out what they used — especially, of course, the guy who recorded the song that you're going to be overdubbing onto! That's what I did, the first time I recorded John. > "We liked the lead vocal, it had an energy that we did not want to give up, but it's not recorded consistently. You can even see on the screen that the levels are all over the place. So I spent a lot of time and energy pushing and pulling all over the place to compensate for frequency anomalies and to make the two takes sound the same, as well as to force all the energy out of the vocals that is in there. On track 48 I have a Filter Bank EQ that's pushing a ton of bottom and taking off some top. The Renaissance Compressor is trying to make sense of that, levelling things out a bit with a really slow attack. > "I don't normally use the L1 Ultramaximiser on a lead voice, but it was probably already there, and I'm using it to get some intelligibility and energy from the vocal. The Renaissance is boosting above 9k and the McDSP is cutting around there as well. I think it's because I'm compensating for the L1, which is doing something I'm not entirely happy with. A lot of what I'm doing is simply compensating for a poor recording. > "Lastly I throw on the R4 Renaissance EQ, probably because after mixing for a couple of days, I felt that it needed a little bit more top, and I did not want to change my settings on the outboard, which was probably my GML 8200. I'm also EQ-ing on the board. So I'm being heavy-handed, also with the effects on track 49, in trying to match these two tracks. I was really fighting until we got something out of it, and I think we accomplished that. The end result sounds pretty good."

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.”

Used on Flo Rida and T-Pain's vocals for "Low", as stated by mixer Fabian Marasciullo in this *Sound on Sound* interview. > "There were lots of vocals and I chose not to bounce them down, because I prefer to process every individual bit separately. It uses more DSP on the computer, but you have more flexibility in the way you can treat sections, and hence more depth in the overall vocal sounds this way. The 'Lead' and 'Dbl' tracks are the main verse vocals by Flo Rida, he's doubling himself like many vocalists will do. Flo has a keen melodic sense when he's rapping. The A, B and C auxes separate the three different parts of the verse. The 'Whine 1, 2, 3' backing vocals only occur in the third verse. Underneath 'Aux 4' are T–Pain's backing vocals. 'Main Hk1,2,3,4' are all T–Pain doing a unison of one note. > > "As is usual for me, I began the mix with the vocals, set against the rough music bed. You can see the latter in the left pane track window in the Edit Window, where it's called 'T_Pain_5 LO'. Of course I later muted that track. After having cleaned up and EQ'd the vocals I worked on the drums, and then the synths. I then brought the vocals back in to get their levels in relation to the music and do some automation. > > "I used the Waves Renaissance Channel on the A, B and C auxes. I use the RChannel on all my vocals. It's basically a combination of the RCompressor, the REQ, and the RVox, all in one, and it's great. For this record I used a pretty cool preset called 'CloseWarmVox', and I tweaked from there. You can see that it rolls off at the bottom and it has a little touch at the top. I almost used it as a filter on this particular song to get clarity in the bottom, add some high and have a bit of compression. I also used it on T–Pain's vocals.

When it comes to effects plug-ins, Moulder fancies Waves. “I use the L1 a lot for getting things to cut through and sit in mixes,” he says. “The Renaissance EQ I like for digital equalizing and their De-esser works well. I use the McDSP stuff a lot for filtering and their new multi-band compressors and analog channels are good, too.

Used on Jean's vocals for Shakira's "Hips Don't Lie".

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.”

"We're doing a bit of EQ'ng there with the R EQ, nothing too radical." - at 6:12 in the Waves webinar with Guy Sigsworth.

He has in pic Waves Renaissance Equalizer Plugin

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

Used on Flo Rida and T-Pain's vocals for "Low", as stated by mixer Fabian Marasciullo in this *Sound on Sound* interview. > "There were lots of vocals and I chose not to bounce them down, because I prefer to process every individual bit separately. It uses more DSP on the computer, but you have more flexibility in the way you can treat sections, and hence more depth in the overall vocal sounds this way. The 'Lead' and 'Dbl' tracks are the main verse vocals by Flo Rida, he's doubling himself like many vocalists will do. Flo has a keen melodic sense when he's rapping. The A, B and C auxes separate the three different parts of the verse. The 'Whine 1, 2, 3' backing vocals only occur in the third verse. Underneath 'Aux 4' are T–Pain's backing vocals. 'Main Hk1,2,3,4' are all T–Pain doing a unison of one note. > > "As is usual for me, I began the mix with the vocals, set against the rough music bed. You can see the latter in the left pane track window in the Edit Window, where it's called 'T_Pain_5 LO'. Of course I later muted that track. After having cleaned up and EQ'd the vocals I worked on the drums, and then the synths. I then brought the vocals back in to get their levels in relation to the music and do some automation. > > "I used the Waves Renaissance Channel on the A, B and C auxes. I use the RChannel on all my vocals. It's basically a combination of the RCompressor, the REQ, and the RVox, all in one, and it's great. For this record I used a pretty cool preset called 'CloseWarmVox', and I tweaked from there. You can see that it rolls off at the bottom and it has a little touch at the top. I almost used it as a filter on this particular song to get clarity in the bottom, add some high and have a bit of compression. I also used it on T–Pain's vocals.

Tim uses it throughout the course of this series.