Side-chain Compression Using Waves RCompressor

In this tutorial I have taken the concepts discussed by Ilpo Kärkkäinen in his ‘Bassline Mojo’ article and expanded on the theory discussed to help create further balance between the kick and bass in the low end. I would highly recommend reading Ilpo’s excellent article first and listening to the audio examples provided to help better understand the theory discussed here. The DAW I’m using to demonstrate is Pro Tools, but the application of this theory and the use of Waves Renaissance Compressor in this fashion can be used in any other DAW such as Logic or Ableton Live.

To begin with, it would be a good idea to discuss what exactly side-chain compression is and how the RCompressor works.

What is Side-chain Compression?
Side-chain compression occurs when an input signal from another source has been selected as a trigger or key input for the compressor. This key input is the determining factor in how much gain reduction takes place on the output signal. There are many applications for this type of compression, such as overall volume ducking, EQ control (like a de-esser), side-chaining kick drum and bass guitar/bass synth etc. In this particular last example, its purpose is to aid in low end balance, along with emphasizing/preserving kick transients and headroom.

What does the Renaissance Compressor Do?
The following information is taken from the Waves Renaissance Compressor Manual and has been adapted slightly to explain its usefulness and industry standard effectiveness as a side-chain compressor.

Renaissance Compressor is a classic warm compressor and expander, with a simple, optimized interface. The Waves ARC (Auto Release Control) algorithm is capable of delivering significantly greater RMS levels (lower peak/RMS ratio) for heavier compression levels. This is particularly useful in the case of side-chain compression, because sometimes, such as in the dance world, you will want to hear pumping compression throughout the track. Classic 5- control setup is at the core of the interface, supplemented by a Release Mode button (ARC/Manual), plus the gentle Character control (Warm/Smooth), and the Behavior control (Opto/Electro).

The settings I've used in the example audio

The settings I’ve used in the example audio

Release Mode
This button selects between Auto Release (ARC) and Manual.

ARC mode uses the Waves auto-release technology. You set the release time as an overall scaling factor and ARC varies it from there depending on the input signal. In this case, our input key signal is coming from the kick drum, so the fact that the overall character of the RCompressor is similar to very responsive vintage program compressors works extremely well for this application.

Manual mode is fully manual, with no ARC (Auto Release Control). In my example, I’ve used ARC but in other situations, I will use the fully manual mode.

Compression Behavior
Electro (the original mode of the v1.0 software) has a release time behavior that is increasingly faster as the gain reduction approached zero, but only when gain reduction (GR) is less than 3dB. When GR is above 3dB, the release time becomes slower, behaving more like a leveler in high gain reduction situations. Therefore, when used with moderate compression, the Electro mode produces a great increase in RMS (average level), and is ideal for “loud” applications.

Opto is actually the inverse of Electro. Opto-coupled behavior always “put on the brakes” as the gain reduction approaced 0dB, i.e., the release time gets slower as the “needle comes back to zero”. As in Electro, this is true only when the GR is less than 3dB; when greater than 3dB, the release time is faster.

With the RCompressor’s two types of compression behavior explained, you can set it to either Electro or Opto depending upon how you would like the trigger (kick drum) to affect the music. I’ve used the Electro setting in this example as the gain reduction is between 6-12dB. That means that the release time of the RCompressor will be slower and will help to control the level of the bass a little more.

This button chooses between Smooth and Warm low frequency characteristics, which certainly can also affect wideband character, depending on the source material.

Warm adds low frequency harmonics as deeper compression is applied (greater gain reduction). Smooth avoids adding such harmonics, keeping the sound as close as possible to the original.

In using the RCompressor as a side-chain tool for low end, it makes sense to use the Smooth setting as you generally will not want to add extra low frequency harmonics to a situation that requires low end management already. However, there may be times that the use of the Warm setting is more appropriate as not many mixing “rules” can be completely set in stone.

Threshold is the input level above which the soft knee compression or expansion starts acting to a significant degree. The threshold slider is beside the Input Meters for easy adjustment.

For side-chain compression, it helps to drop the threshold slider down quite low to create the effect and almost exaggerate it, then adjust higher or lower to suit the material.

Note: the Renaissance Compressor uses a soft knee, so compression and expansion start with signals that are 3 dB lower than threshold.

Adjusts the compression or expansion ratio for signal above Threshold. The Renaissance Compressor ratio covers a wide range of compression ratios (1.01:1 to 50.0:1), as well as expansion ratios (0.99:1 to 0.50:1). The Ratio fader is beside the Gain meter.

In this track, I’ve used a 4:1 ratio.

The value is in milliseconds, from 0.5 to 5000 (5 seconds). It controls the response time of the onset of compression or expansion.

My attack time of 15.8ms is a relatively “medium” attack time. The attack time will depend on the song but I preferred this type of attack to control the level of the bass in this instance.

The value is in milliseconds and controls the release characteristic (linear when ARC is off). When ARC mode is engaged, the Release controls acts as an overall scaling factor around which the ARC technology works.

My release time is 33.4ms and is quite fast. I will often use a fast release time when I’m using a high amount of gain reduction (in this case 6-12dB) in a side-chain application, to create a slight pumping effect.

The value is in 0.1dB steps. Adjusts the output gain of the compressor, from +30.0 to -30.0 dB.

I’ve added 1.7dB of makeup gain to match the level of the bass when the RCompressor is bypassed.

How do I do it?
So with what the RCompressor does explained, how do I actually employ the technique?

As I am expanding on the theory involved in the ‘Bassline Mojo’ article, I have three separate bass tracks in my session. They all contain the same audio material but two tracks are duplicates of the original. These three tracks have been sent to a Stereo Aux called ‘All Bass’.

All Bass Aux

This auxiliary track can control the panning, automation and overall levels of the combined bass tracks, along with the ability to add further inserts that affect all three tracks if necessary.

On this auxiliary track, I have instantiated an RCompressor as an insert.

All Bass RCompressor

I have also selected ‘SIDECHAIN’ as the key input. I simply selected an available bus and renamed it ‘SIDECHAIN’.

I then duplicate my kick drum and do not monitor it. I remove the monitor output in Pro Tools and create a send from this track, sending the signal to ‘SIDECHAIN’ at 0.0 on the fader. I also put it in PFL so that it is always sending, even if the duplicated kick drum track has been muted.

Kick Send Duplicate

So, from my original explanation of side chain compression, the input signal is coming from the duplicated kick drum and has been selected as a trigger or key input for the RCompressor. This key input is the determining factor in how much gain reduction takes place on the output signal of the ‘ALL BASS’ track, thereby controlling the bass. If you wanted to just control the level of the low end of the bass, you could place the RCompressor insert only on the low bass track and there would be no gain reduction on the ‘Mid’ or ‘High’ bass tracks. For this track, I wanted the compression to affect all three tracks.

The kick and bass together without any side-chain compression would sound like this:

With side chain compression added, this is how they sound together:

With side-chain compression added, the kick is much more pronounced and rounder. Even though there has been no direct volume adjustment on the kick track itself, the level of the kick seems much louder. Rather than the bass and kick fighting each other for space, the kick is pronounced and the bass is supporting with effect.

This is the effect the side-chain has on the bass in solo:

Finally, here is the effect played within the track and all instruments playing:

If we took off the side-chain, the track would sound like this:

Notice that we lose quite a lot of the “Four on the floor” feel, the low end becomes a little boomy/unbalanced and we lose some of the clarity of the high-end/mid-range instruments.

There are many other applications for using the Waves Renaissance Compressor in a similar fashion, as earlier discussed. For example, you could use it to duck guitar parts when a vocal part needs to be the prominent element in a mix.

You could also side-chain some of the lead instruments or pads along with the bass, so that the kick cuts through all instrumental elements to create a “pumping” style or effect. Examples of tracks using similar techniques are in the chorus of ‘She Wolf’ by David Guetta and the intro to ‘Crew Love’ by Drake.

The more “standard” use of side chain compression to control the low end, as discussed in this article, can be heard in a multitude of tracks. Check out the chorus of ‘Part of Me’ by Katy Perry; for how it’s used to help create a big pop sound, ‘Awake’ by Tycho; in a more relaxed style on a bass guitar, and ‘Massage Situation’ by Flying Lotus; for a glitch hop application of a side-chain.

If you would like me to post a video on how I personally use the RCompressor to achieve this effect, then drop a comment below and I’ll get one up based on demand!

A/B Mixing with Waves Video

As part of my work with the Waves Street Team, I recently produced a video on A/B Mixing with Waves as a follow-up to my article of the same name.

Check it out below!

Jazz Mixing With Waves

Following on from the recent Mixing Jazz with Waves webinar, I’d like to share how I recently approached a jazz mix and the various Waves plugins I used to mix the track.

First of all, Wicked Knee are Steven Bernstein on trumpets, Curtis Fowlkes on trombone, Marcus Rojas on tuba, and Billy Martin from Medeski Martin & Wood on drums and percussion. You can take a listen to the track and then I’ll explain what I did.

As this was a jazz mix, I wanted to stay away from compression and extensive effects and focus on volume automation, equalization and use of the stereo field to shape my sound.

Once I had roughly balanced all the levels in the mix and panned the various tracks the way I liked them, I then listened back to see if there were any problematic or uneven sections and attenuated those further with automation. Why did I focus so much on volume automation at this stage?

  • I was only using gentle compression on the drums and none at all on the individual instrument tracks.
  • With this approach, there is much less work for compressors to do.

With that part of the mixing process complete, I started mixing the drums. When the drums sounded nicely balanced, I moved on to adding the tuba, trombone and trumpet. From there, I worked to create a polished sound with final EQ, buss EFX sends and automation on the individual tracks.

Once finished at a micro level, these tracks fed their relative busses (Music, Drums, Bass, EFX) and finally the stereo buss. As there were not an extensive amount of tracks in the session, I chose to leave everything unmuted and not solo any elements. I think that was a fundamental step in creating an accurate representation of a jazz sound.

The main plugins I used on the mix were the Waves Renaissance Equalizer and Renaissance Compressor.

REQ and RCompressor are part of the Waves Renaissance Maxx Bundle

Next, I’ll outline how I used the plugins in the track:

Renaissance Equalizer

Settings do not reflect those used in the track

Kick Drum
I used corrective EQ to cut frequencies before compression with the REQ 4:

  • High-pass filter at 30Hz
  • 8dB cut at around 700Hz
  • 3dB cut at 2kHz
  • 4dB high shelf cut at 10kHz

Post-compression I used the REQ 2 to add a little 50Hz and remove some 80Hz.

  • High pass filter at 100Hz.
  • Cut 2-3dB at 950Hz.

I then added in some 5kHz post-compression with the REQ 2.

  • 6dB boost at 250Hz
  • 9dB cut at 900Hz
  • 4dB boost at 6kHz

Floor Tom

  • Low shelf at 80Hz
  • 2.5dB boost at 240Hz
  • 8db cut at 650Hz
  • 3.5dB boost at 4.7kHz

Overhead and Side
Ther Overhead and Side mics were high passed at between 1-2kHz respectively and had the required frequencies boosted in the high frequencies using the REQ. I used no compression on either of these mics.

The Front mic was very heavily EQ’d with REQ and there was a high shelf boost added for some top end.


  • Low shelf roll off at 34Hz
  • 5dB boost at 90Hz
  • Narrow cut of 4db at 640Hz
  • High shelf roll off of 3db at 4kHz


  • Low shelf roll off at 80Hz
  • 6dB boost at 180Hz
  • 5dB cut at 660Hz
  • 5dB high shelf roll off at 6kHz

During the final stages of the mix, I also added a separate REQ 2 to add 3dB at 295Hz and 2.5dB at 6.5kHz.


  • 8dB low shelf roll off at 144Hz
  • High shelf 5dB roll off at 10kHz

Again during the final stages of the mix, I added another REQ 2 and boosted 1.3kHz by 5dB and 11kHz by 3dB.

The delay track was affected in the same way but without the separate EQ boosting additional frequencies.

Renaissance Compressor

Settings do not reflect those used in the track

Kick Drum
4:1 ratio taking off at most 3dB at peak.
2:1 ratio to attenuate an absolute maximum of 2-3dB at peak.
I used the CLA 76 Bluey to decrease the influence of the kick on this element.

Buss Effects

Snare Reverb

Settings do not reflect those used in the track

Renassance Reverb with a medium room setting. I didn’t send a huge amount of the signal to this buss, just enough for my taste!

Parallel Compression

Settings do not reflect those used in the track

The CLA-76 and Puigtec EQP-1A were used as my chains on 2 separate busses for kick and snare parallel compression.

Settings do not reflect those used in the track

Kick settings:

  • CLA 76 Blacky – ratio of 6:1 attenuating 1dB sparingly in places.
  • Puigtec EQP-1A added a small amount of 60hZ.

Snare settings:

  • CLA 76 Blacky – ratio of 4:1 attenuating 3dB.
  • Puigtec EQP-1A adding a small boost at 100Hz.

Music Buss

Settings do not reflect those used in the track

The music buss had an instance of Waves Center on it to help emphasize the low frequencies of the drums and tuba in the center and move some of the low frequencies of the trombone and trumpet to the sides. The high frequencies were also slightly boosted at the sides, which further adds to the “clearing out the middle” effect.

I also used the CLA-76 Bluey compressor to just lightly affect the Music with a 4:1 ratio, slow attack and release. This compressor attenuated 1-2dB at only a few points in the mix.

Drum Buss
On the drum buss, I cut 6dB at 67Hz with the REQ and 7dB at 14.5kHz. I used a narrow Q for both these cuts. The CLA-76 Bluey compressor with a 4:1 ratio was then used to attenuate a maximum of 3dB.

Stereo Buss

Settings do not reflect those used in the track

The L2 Ultramaximizer is my “go to” plugin on the stereo buss. For this track, I set the threshold so that it just touches the mix – taking off at the very most 3dB at the loudest parts of the track.
So, that’s it… that’s how approached this particular jazz mix. If you like what you hear, please let me know about it!
What way do you approach a mix? Do you have a set formula or workflow, or do things change with every mix?
What plugins do you use when mixing jazz?
Leave a reply below and add your voice to the conversation!

A/B Mixing with Waves

To develop an individual and successful mixing style, it’s important that we test the responses of both our clients and the audience.  Our clients might be technically aware and able to supply us with a specific brief and feedback, but the general public won’t know if a vocal is sounding flat or the reverb is too wet – they’ll just know that it sounds “off”.
It’s really important to “think like the listener” not only during the songwriting process but also while mixing.  This is a point that hit songwriter/mixer Martin Sutton often hammers home and it is something that I will never forget.
Testing and changing variables in the mix will help to keep your ideas fresh, challenge your ears and most importantly, improve your skills.
Macro A/B Mixing
There is no right and wrong way to mix – no set formula.  Just don’t think that by using all the effects and plugins your DAW and computer can handle that your mix will instantly sound great. It is incredibly important to be different and original but use common sense!
Find what you love about the song and what really makes it stand out. This could be a bass guitar groove or a prominent vocal melody.  If the intended purpose of the track you are mixing is mainstream success, you need to maintain the power and clarity of all the hooks.  Otherwise, you’ll lose the feeling and emotion of the song, your clients will hate you and people will start throwing things at you in the street (OK.. maybe not the last one).
If you’re creative, artistic and passionate about what you’re doing, it will always shine through to the listener.
Any time you hear something you like in a commercial track, test yourself to see if you can identify what has been done to achieve that sound and then try to replicate it in one of your own sessions.
If, for example, you’re looking for the sound of a side chained club anthem and you’re in need of a reference,  why not throw a David Guetta track into the session to see if you’re going about it the right way?
Constantly ask yourself whether you’re happy with the mix at each juncture (e.g. end of drum mixing, vocal FX).  You might use questions such as:

  • Am I happy with the high end on this track?
  • Does the singer sound too distant?
  • Is my kick lacking definition?

Your reference set should include songs with examples of all these things done the way you like it so that you can compare and contrast.
Try new things and don’t be afraid to make mistakes
There will always be someone who has achieved what you’re trying to do already in some shape or form.  That doesn’t necessarily mean that they directly set out to achieve that sound. Trust your ears and don’t be afraid to make mistakes.  Fear is an extremely limiting factor, especially when there are no clear guidelines.  It is amazing that people can also fear success.  Test everything, try out different things and see what works.  Even top performers can make mistakes.  What you would never think is that they can often work out for the better. 
Here’s evidence from a fellow Waves Street Team member at the very top of his game that there is no set formula and accidents can make for great mixes and inventive sounds:

Klaus has millions of worldwide record sales to his credit!

Micro A/B Mixing
We’ve discussed the importance of critically listening to songs and figuring out what it is you like about a track. Now it’s time to look at things in more detail and point you in the right direction to improve your own mixes by building on some techniques that have made other tracks sound great. We’ll begin with some simple tips that you might not have tried:

  • Let’s say you want to make a vocal sit better in the mix. A common approach would be to boost between 1-3kHz to add presence and intelligibility. Why not try cutting at 600Hz and 2kHz to emphasize 1kHz and add a sense of power to the mix?

  • Another EQ tip is to try cutting before compression and then boost post-compression to add in the lost frequencies. This could be done to balance the low end with a fat kick drum sample dominating the 60-80Hz range.

I learned both those tricks by listening to the all-knowledgeable Dave Pensado and they have made a world of difference to my mixes, so thanks Dave!
After using those tips a couple of times, you will make your own tweaks and employ them in a variety of ways. Save settings you like as presets and the next time you load them up, try something different.  Don’t just go through the motions – be creative and tailor it to the artist, singer etc.
A/B Comparison and Copying (Waves System Guide)
With Waves plugins, the Setup A/Setup B button may be clicked to compare two settings. If you load a preset in the Setup B position, this will not affect the preset loaded into the Setup A position, and vice-versa.

Setup A Position

If you want to slightly modify the settings in Setup A, you can copy them to Setup B by clicking on the Copy to B button, then alter Setup A and compare with the original Setup B.

Setup B Position

The name of the current setup will be shown in the title bar (on platforms that support it), and will switch as you change from Setup A to Setup B.
Note: an asterisk will be added to the preset name when a change is made to the preset.
This function is incredibly useful when micro A/B mixing and while demonstrating different settings to clients.
You might only be testing and changing one variable but it can have a fundamental difference on the overall mix and quality of the finished track.
How CLA does it..
Next we can see how multiple GRAMMY® award-winning mixing engineer Chris Lord-Alge  brought his signature sound to the 2012 CLA Song Competition Winner. The A/B (macro) demonstration of the original mix in comparison to that of CLA is incredibly valuable.  He then goes in to talk specifically about techniques (micro) that helped add to the mix and create the polished sound we hear.

Chris Lord-Alge in his studio

The groove, production on the track, and high level of musicianship make it pretty easy to see why CLA picked it as the winner of the competition.  While the original mix was very good, it’s impressive to see what can be achieved when it’s re-mixed by one of the greats.
3 things that stood out for me:

  • The sense of space created by his use of the stereo field.
  • The clarity of the vocals creates a greater emotional connection to the song.
  • The power of the drums helps to enhance an already bright sound.

If you like what CLA is doing in the video, why not download a demo version of any of the plugins and try to mirror some of the techniques he has used? It’s free!
You can see that the CLA-76 Bluey from the CLA Classic Compressors is used to process the vocal sound in the mix.  I’m working with the CLA-76 right now, so you can expect some updates and tutorials on that plugin in the coming weeks.
Is this helpful? What other topics would you like to see me write about?
What sort of A/B testing do you apply to your own mixes?
Leave a comment below and add your voice to the conversation