A uniquely powerful dynamics processor optimized especially for vocal tracks, Renaissance Vox features simple streamlined controls for compression, gate/expansion, limiting, and level maximization.
Compression, gating, limiting, and level maxim...
Used for vocals on *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix. > “[Mayer] loves hearing his vocals really compressed, so he can be as dynamic as he wants to and it always sounds present to him,” he continues. “He likes way too much reverb when he's tracking, and then when we proceed into the mix, it will be reeled in a little bit. Generally, I will compress lightly going to tape or Pro Tools, and then in Pro Tools cream it with usually the Renaissance Vox.”more
Used on Lamar's vocals for "All the Stars" as stated by producer Matt Schaeffer in this May 2018 *Sound on Sound* interview. > Kendrick Lamar’s vocal audio tracks, named after his teenage stage name K.Dot, consist of his first verse rap track, ‘VS 1 LD’, and 10 tracks for three moments in the track where he sings the pre-hook in a robotic voice. The verse rap track only has the AIR Flanger on it, and is sent to the ‘Dot VS LD’ aux track, which has eight inserts and five sends. Nine of the 10 pre-hook tracks have Auto?Tune, while the top four have a number of plug-ins on the inserts, including the EQ3 seven-band, Waves RVox, UAD Galaxy Tape Echo, SoundToys Little AlterBoy, SoundToys MicroShift and Valhalla Vintage Verb. These four are sent to a ‘Hook Ref’ aux track higher up in the session with another four plug-ins on the inserts and five sends. The other six are backing vocals to the four other pre-hook tracks and have no other plug-ins, other than a Trim, and are sent to a ‘Hook Background’ aux, just below them, which itself also is sent to the ‘Hoof Ref’ track. It’s a pretty complicated vocal signal chain, as Schaeffer admits. > “The ‘Dot VS LD’ aux indeed has a lot of stuff on it! I did most of the processing on that bus. On the inserts there are the SSL E-Channel, Waves RComp, Waves Q10 EQ, Waves DeEsser, UAD LA2A, UAD Pultec EQP1A, SoundToys Decapitator and Pro?Q2. The SSL channel strip, Q10 and RCompressor remain from the tracking, and maybe the DeEsser as well, but I most likely messed with the settings more during mixing. The Q10 has a high-pass at 50Hz and I notched out a frequency that was bothering me around 8.5kHz with the Q2. I added the other plug-ins during mixing, and they all add something a bit different. I’m boosting 100Hz and 16kHz with the EQP1A. As I said, I like using several EQs on one thing. > “The sends go to a ‘FlangeVerb’ track, on which I put the RVerb and the UAD MXR Flanger, then the ‘Huge Verb’ with the [Audio Ease] Altiverb and EQ3, ‘Hook Valhalla’ with the Vintage Verb, and the SoundToys EchoBoy, the ‘EMT250’ aux with the UAD EMT250, Valhalla Plate and MicroShift, and then finally a send to the ‘Dot VS Delay’ track, with the EchoBoy, set to quarter note, the Reel Tape Flanger and the RCompressor. The EchoBoy is the main delay you can hear in the verse. The EMT250 is not set to a reverb, but to a phaser effect, which gives a cool stereo effect. The Valhalla adds a bit of reverb here, though it’s set to -12, so it only gives a tiny bit of ambience, and the MicroShift makes the whole thing a little wider. It probably still sounded a bit dry, which is why I sent the track to the ‘Huge Verb’ aux with the Altiverb, again taking out low end with the EQ3.more
It’s all about getting something to sound the most inspiring as quickly as possible, to keep the momentum going. You would think that more advanced producers would want infinite parameters in their tools. But in truth, I’ll use something like Renaissance Compressor – I’m a big fan of optical compressors. Either that or the Renaissance Vox comp – it has a way of placing vocals perfectly in the mix without the compression being noticeable or harsh. Very transparent and smooth. I probably use it more than any comp; I can get good results fast and keep it moving.more
Used for Albarn's vocals on Gorillaz's "Charger", as mentioned by recording engineer and frequent collaborator Stephen Sedgwick in this July 2017 *Sound on Sound* interview about the production of *Humanz*. > “The vocals start at track 42, with Damon’s lead vocal. The main lo-fi telephone-like effect is the typical 2-D sound, because this is a 2-D song. I can’t tell you what it is, but it’s done with hardware. The plug-ins on the inserts are a Waves Renaissance De-esser and RVox, and the Waves Kramer PIE [compressor], which I use a lot on vocals. Below are two tracks of lead vocals with delays. > > While recording, I often use the SoundToys EchoBoy for delays, but I replace that with hardware delays to get more character. In this case these two tracks are prints of me running Damon’s vocals through a Roland SDE 2000. I was having fun with that, doing fast delays and delays with modulation. Then there are some Damon harmonies, and the yellow tracks are him singing the chorus, and some of these are pitched down an octave with the Little AlterBoy. I usually compress vocals with outboard, either using Empirical Labs Distressors or sometimes the Summit TLA 100A or Tube-Tech CL1B compressor. If want to impose a lot of character I’ll engage an old Collins broadcast limiter. For reverbs on the vocals I often use the studio’s EMT 140 plate.more
Used for J. Cole's feature on 21 Savage's "A Lot", as is visible in track "CILdVrDIRTY" in a downloadable photo of the "A Lot" Pro Tools session (available in [this .zip file](https://dt7v1i9vyp3mf.cloudfront.net/assetlibrary/i/inside-track-maddmix-protools.jpg.zip?e.NufXPkJ6AA9d08Z4nh0YmAafFdQF5n)) from this March 2019 *Sound on Sound* interview with producer Maddmix.more
In [this interview](http://www.soundonsound.com/sos/jul07/articles/djpremier.htm) with SOS, Dj Premier talks about his plugins, saying, "There are many plug-ins I haven't even experimented with yet. But I like the [Waves] Renaissance Vox and Bass plug-ins. I just play around until the sound has a nice shape."more
In this Sound on Sound article 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."more
Used on "Closer", as stated by producer DJ Swivel in this February 2017 *Sound on Sound* interview. The settings for "Halsey LD 1.01" can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/it021705c-uBKoA1ZThaswRsDFqSpfZkPovL0k7oLZ.jpg). > “All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals. > “I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that. > “In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat. > “By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.more
Used on Cardi B's vocals for "Bodak Yellow", as mentioned by mix engineer Evan LaRay in this February 2018 *Sound on Sound* interview. An image of the "ELR" settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_02_18_04E-XY1i7v4qA9hNmPcKWGAUJlLlWjsFO_FB.jpg). > In his mix of ‘Bodak Yellow’, Evan LaRay used almost identical vocal chains on two auxiliary busses. The ‘Vox 1’ chain includes FabFilter’s Pro-DS de-esser and Waves’ C4 multiband compressor, plus the Waves CLA Vocals plug-in and SoundToys’ Decapitator saturation processor. > The main ‘Hook’ and ‘Verse’ vocal tracks have similar plug-in chains, incorporating the EQ3 seven-band, Waves CLA-76 and Waves De-esser, though the ‘Hook’ also has FabFilter’s Timeless 2 delay. LaRay explains, “The EQ on the ‘Hook’ has a high-pass, around 100Hz, and I’m also cutting 3dB at 300Hz, because the vocal sounded a bit muddy, and again 3dB at 4kHz, because there was a piercing frequency there. The CLA keeps the peaks in check, and the de-esser again takes some higher frequencies out, at 4270Hz, and the Timeless is another favourite plug-in. I think in general the FabFilter plug-ins are extremely dope. I wanted the ‘Hook’ vocal to stand out from the ‘Verse’ vocal, so I used a stereo delay preset, and then tweaked that. The presets on the FabFilter plug-ins are pretty good: you just run through all of them and then choose the best one. In this case I lowered the width and the wet value of the stereo delay preset, and that sounded good and gave the hook its own space. The three plug-ins on the ‘Verse’ track do pretty much the same. > “The ‘Inout’ tracks that are below the ‘Hook’ and the ‘Verse’ are vocal doubles. They are words or lines we use for emphasis and additional power on these lines and words. They come from one of her original vocal takes, which I just cut and cleaned up. Both ‘Inout’ tracks have the Waves RCompressor, just containing these words and lines so they don’t overwhelm the ‘Hook’ or the ‘Verse’ vocal, and then the FabFilter Pro-Q2, taking out some high frequencies, again to make sure it doesn’t clash with the leads, and also cutting below 200Hz. And there’s a delay on these tracks to put them in a slightly different space from the lead vocal tracks. > “In addition to the two ‘Inout’ tracks, both the ‘Hook’ and the ‘Verse’ tracks are also accompanied by an ‘Ad Libs’ track, which were some ad libs Cardi had recorded with Mike over at Krematorium. Mike had also set up a separate aux track for these ad libs, which is ‘Vox2’, and I liked that and kept two of the plug-ins he had on that: the [Avid] Sansamp for some distortion and the SoundToys Panman. I then added the D-Verb and the [Waves] CLA Vocals. I adore the CLA Vocals. I use it on every track I work on. When I don’t use it, the vocals sound completely different. I’d love to know what exactly it does! Finally, the inserts have the Waves L1, just to control the peaks. > “The other tracks — ‘EXF1’, ‘EXF2’, ‘EXF3’ and ‘EXF4’, are because I prefer to create a new track if I want to have a specific effect on specific words or phrases. I prefer doing that to automating the effects on a track. Automation is great, but I tend to only do volume automation. So I copy audio to another track, and then put the effect on that, and in this case I created four different effects tracks with four different delays. ‘EFX1’ is the main one, and has the same three plug-ins as the Verse tracks — EQ3 three-band, CLA76 and Waves De-esser — just with the EQ3 cutting more of the high frequencies. Then there’s an eighth-note ping-pong delay from the Waves H-Delay, and then a D-Verb set to ‘hall’ with 7s decay and a 15ms pre-delay. ‘EFX2’ has another H-Delay delay, ‘EFX3’ the Timeless 2 delay, and ‘EFX4’ again has the H-Delay plus a D-Verb.” > All the main vocal audio tracks go to LaRay’s ‘Vox1’ aux group track. This, he explains, has “A FabFilter Pro-DS de-esser, then the Waves RCompressor controlling the peaks, the Waves C4 multiband compressor boosting the high end and containing the lows in her voice, so it doesn’t cut through too much, and Waves CLA Vocals. Again, it’s really making my vocals sound good. I push the Pitch fader to stereo, spank it on the compressor, also push up the treble to brighten it up, turn the reverb down to ‘tight’, and lower the delay by 9dB because my own quarter delay is my main vocal delay, and it sounds great. There’s also a SoundToys Decapitator, to add more harmonic distortion, and then there’s the Waves RVox. That was supposed to be the final plug-in on the insert, but then I realised the vocal was still peaking too much once she began rapping loudly, so I put on the L1 [limiter] to control that.” > The ‘special sauce’ in Evan LaRay’s mixes comes from a parallel aux channel containing a blend of compression, saturation, EQ and other processors. Key ingredients are Waves’ PuigChild compressor and PuigTech equaliser. > The ‘Vox1’ and ‘Vox2’ tracks also each have a Trim plug-in on an insert, and sends to the ‘Verb’ aux and to the ‘ELR’ (LaRay’s initials) track. “I put the Trim on all my tracks at the end of the vocals, and at the end of the beat, because the vocals actually began distorting in places. These two tracks were too hot, and I wanted to make sure they had a good level before going to the ‘Sub Print’ track. I have the ‘ELR’ aux track in every session. It’s most of all parallel compression, but I also always try out new things with distortion, exciters and things like that, and I label that ‘ELR’. In this case it really is the ‘ELR’ track that makes the vocals cut through the mix. > “The compression on the ‘ELR’ track comes from the Waves PuigChild 670, which is a great compressor, and it’s compressing a lot, so the vocal stays right there in the middle. The signal is then going to the PuigTech EQP-1A, which is boosting some low end to add some warmth to the vocals, and some 5kHz, and then the Waves Aphex Vintage Aural Exciter, set to AX Mix 6, for some added crispness and clarity, then the EQ3 seven-band to control the low mids, and another De-Esser cutting 4398Hz, to finalise the vocal sound. The L1 also helps keep the vocals in the same place. Finally, the ‘Verb’ send on the ‘Vox1’ and ‘Vox2’ tracks goes to the ‘Verb’ aux, which has the Waves RVerb, and that pretty much glues everything together.”more
Used on Flo Rida's vocals for "Low", as stated by mixer Fabian Marasciullo. > "In addition, I used the Waves De–esser and Renaissance Vox on both Flo's and T–Pain's vocals. With the De–esser on Flo I cut around 5424Hz and T–Pain around 4500Hz. Some people put a de–esser on an aux, but I find that this doesn't really grab the frequency enough. So I de–ess twice. I will first grab a mid–frequency with a plug–in directly on the channel, and I will then put a de–esser on an aux. You will see my second de–esser on the Mix Window, on the 'Verse' auxiliary track. > > "The RVox got rid of extreme peaks on both Flo and T–Pain's vocals. I used it to just clean things up if there were big level differences. But it's not hitting the vocals heavy, it only works when the vocals hit the threshold. It also has a great gating feature, and so it cleans up little blips here and there. The settings on all plug–ins were very similar for both Flo and T–Pain, because they have very similar voices. I had the McDSP Analog Channel only on T–Pain, though, basically to take off some edge. I use that plug–in when vocals are a little too brittle or bright. It really simulates hitting a tape recorder, and it also provides a little bit of analogue tape compression. It's a pretty good plug–in and you can select different tape recorders, like Tascam, Ampeg, Studer and so on. For this record I used the Studer preset.more
Used on Minogue's vocals for "Dancing", as stated by producer Sky Adams in this July 2018 *Sound on Sound* interview. > "My vocal chain on the Kylie bus begins with a Logic Channel EQ, with a high?pass at 69Hz; I also boost 285Hz and 3100Hz. Next is the Waves CLA Vocals, with which I again boost some high end and add some compression, and a tiny bit of reverb; altogether it enhances the vocals a bit. The third plug?in is the Waves Butch Vig Vocals, with the de?esser and compressor both at 50 percent and adding some presence and air, all to give it some sharpness. For some reason Butch Vig gives a nice saturation and clarity on vocals, but I find that it only works on the Aston microphone. With every other mic I’ve used it tends to sound too distorted. > “The next plug?in is a Waves dbx 160 for some more compression, then the Waves SSL G?master bus compressor, set to a ratio of 2, attack 1 and release 3, and the Waves C4 multiband set to the Pensado preset, adding above 8kHz, the Waves API 560 EQ adding yet more high end, and the Waves RVox, with the compressor set to 4.2. I find that the RVox really helps to bring the vocal to the front. > “My main reverb in this session, which I used mostly on the vocals, and my favourite reverb in general, is the Toraverb. It’s really hard to find a good reverb, but I freaking love it, and I use it on almost everything. It has a wonderful tail off, and also a delay that works really well. ‘Crystal Cave’ is a favourite preset, which I use mainly on vocals. I don’t mind using the same reverb on everything, but in addition I sometimes use Logic’s Space Designer, which also has a great sound, and a wonderful tail that you can crank all the way up. The latest update, the Chronoverb, is amazing.”more
Used on "A Lot", as mentioned by producer Maddmix in this March 2019 *Sound on Sound* interview and as visible in a downloadable photo of the "A Lot" Pro Tools session (available in [this .zip file](https://dt7v1i9vyp3mf.cloudfront.net/assetlibrary/i/inside-track-maddmix-protools.jpg.zip?e.NufXPkJ6AA9d08Z4nh0YmAafFdQF5n)). > Although there are relatively few plug-ins on the drums and hardly any on the music, Maddox uses dozens on the vocals. 21 Savage's five vocal aux tracks, for example, all pass through a signal chain comprising Antares Auto-Tune, UAD 1176LN E, Waves Renaissance Vox, FabFilter Pro-DS, Waves C6, another Pro-DS, FabFilter Pro-Q2 and another C6, with only the latter one or two plug-ins dropping out on a couple of tracks. > All these tracks go the '21 Lead' aux (42), which has nine plug-ins, including compressors, de-essers, and four(!) more instances of Pro-Q2, as well as four sends. Both 21 Savage and J Cole's aux group vocal tracks then go to a vocal aux called 'MadVoxComp', and from there to the 'All Vocals' aux, each of which hosts two plug-ins; so in total, every 21 Savage vocal track passes through 19 to 21 insert plug-ins, as well as being sent to up to seven auxes. The situation with J Cole is even more elaborate, though complicated by the fact that some of the sends came with the vocal session that Maddox received from Cole's engineer. > "I guess my thought process behind my mixing is kind of messy!" laughs Maddox. "The thing is that I will start with adding compression and EQ on a vocal, and then if I hear something else that needs correcting, I will just add another compressor or EQ. I never go back and take plug-ins off or reset them, because I don't want to go back on what I already have, because I might mess it up. So I just keep going forward and adding plug-ins until I get the sound I want. That works for me. Some people like mixing with very few plug-ins, but I will mix with whatever I need to get what I want. > "The plug-ins I have on these inserts I use frequently. I guess you could call them my clean-up plug-ins. The 1176LN worked on 21's vocals in this session. I may also use the UAD Tube-Tech CL 1B or the Waves RCompressor. In this session the 1176 made 21's vocals really full and in your face. Next is the RVox, which is also is a good plug-in for bringing the vocals up front and making them really full. It is very subtle, but it makes a big difference. If I feel like the vocal does not sit up front enough I put that on, compress it a little bit, and it usually fixes the problem for me. The 1176 has a similar function, but I use it more for actual compression and the RVox more for tone and to make it sound bigger. > "Next is the Pro-DS, which as a de-esser obviously helps with the sibilance. Some vocals have more sibilance than others, and sometimes I use just one, but in this case I felt I needed two. I love using multiband compressors, and the C6 is here for some general compression, but there always are some frequencies that need adjusting, but that I don't want to take out with an EQ, because you need those frequencies. When I use a multiband, I find the frequency that bugs me, and set a threshold, so the frequency is only dipped when it needs to be dipped. If you look at my C6 plug-ins, they often address harsh frequencies that a de-esser can't take out. I'll have a really tight notch on the C6, and then just compress that frequency a couple of dB." > Of the '21 Lead' aux, Maddox says: "There are four instances of the Pro-Q2 on the signal chain, which is again an example of me working cumulatively. I now use the Pro-Q3 a lot, which is a dynamic EQ, which can do pretty much the same thing as the C6. Then insert 4 is the McDSP MC404 multiband compressor, which I use pretty often, and then I have the Eiosis Air EQ, the C6, the Kush Clariphonic EQ and the SSL G EQ. I use different EQs for different purposes. The Q2 has unlimited bands, so I use that to search and dip frequencies I don't like. I really like the high end on the Air, which opens up the vocal and makes it sound really good. I also often do some scooping in the lower mid-range with the Air, because it does a really good job of that. I use the Clariphonic mainly for the Clarity knob, which widens the vocal just by having that on. I really like that on vocals and use that in almost every session. > "The sends go to several aux effect tracks with delays and reverbs, but for this project they told me that they wanted the keep the vocals pretty dry, so I didn't use much reverb. Mostly just a small room reverb really subtly in the background to give it some space. The main reverbs that I have in my template are the Slate Digital VerbSuite Classics. They have great emulations of popular reverbs like the Bricasti and so on, that sound really good. I also use the UAD Lexicon 480 a lot. Those are my go-to reverbs. I occasionally use the Waves RVerb and TrueVerb. My main delays are the Soundtoys EchoBoy and the Waves H-Delay. For distortion I use the Soundtoys Decapitator and Devil-Loc, sometimes the Dada Life Sausage Fattener, which is fun, and the distortion pedal in the Waves GTR3 Stomps plug-in. > (...) Finally, both '21 Leads' and 'Leads' go to the 'Lead All'  and parallel 'MadVoxComp'  tracks, and the latter has the Waves CLA-76 and L1, both for more presence and volume."more
Used on T-Pain's vocals for "Low", as stated by mixer Fabian Marasciullo. > "In addition, I used the Waves De–esser and Renaissance Vox on both Flo's and T–Pain's vocals. With the De–esser on Flo I cut around 5424Hz and T–Pain around 4500Hz. Some people put a de–esser on an aux, but I find that this doesn't really grab the frequency enough. So I de–ess twice. I will first grab a mid–frequency with a plug–in directly on the channel, and I will then put a de–esser on an aux. You will see my second de–esser on the Mix Window, on the 'Verse' auxiliary track. > > "The RVox got rid of extreme peaks on both Flo and T–Pain's vocals. I used it to just clean things up if there were big level differences. But it's not hitting the vocals heavy, it only works when the vocals hit the threshold. It also has a great gating feature, and so it cleans up little blips here and there. The settings on all plug–ins were very similar for both Flo and T–Pain, because they have very similar voices. I had the McDSP Analog Channel only on T–Pain, though, basically to take off some edge. I use that plug–in when vocals are a little too brittle or bright. It really simulates hitting a tape recorder, and it also provides a little bit of analogue tape compression. It's a pretty good plug–in and you can select different tape recorders, like Tascam, Ampeg, Studer and so on. For this record I used the Studer preset.more
A uniquely powerful dynamics processor optimized especially for vocal tracks, Renaissance Vox features simple streamlined controls for compression, gate/expansion, limiting, and level maximization.
Compression, gating, limiting, and level maximization in one plugin. Soft-knee compressor with auto make-up gain. Gentle downward expander for noise gating.